Dramatic and Vivid Luxurious Garden in Procreate Part 1 - Clipping Masks and Layering for Dimension | Delores Naskrent | Skillshare
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Dramatic and Vivid Luxurious Garden in Procreate Part 1 - Clipping Masks and Layering for Dimension

teacher avatar Delores Naskrent, Creative Explorer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Intro to Dramatic and Vivid Luxurious Garden in Procreate

      2:46

    • 2.

      Lesson 1 Inspiration and Overview

      7:40

    • 3.

      Lesson 2 Blocking in the lnitial Flower Shapes

      10:55

    • 4.

      Lesson 3 Touchups and Shading Techniques

      8:12

    • 5.

      Lesson 4 Experiments with Overlaps

      5:39

    • 6.

      Lesson 5 Multi Part Motif Issues

      15:59

    • 7.

      Lesson 6 Some of the Finishing Touches

      11:11

    • 8.

      Lesson 7 Conclusion and Closing Thoughts

      1:29

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About This Class

In this class, I am further exploring the use of the Gaussian Blur to help create shadows to show depth on a vibrant floral. My goal is to start with just a single layer for each flower, stem, or leaf. The reasoning behind this is that I know it will take many, many clipping masks to add the depth, so I try to keep it as simple as possible at first. As we progress through the lessons, you will see me add more and I will show you some real-world decisions as I work towards my end goal.

This class, Dramatic and Vivid Luxurious Garden in Procreate 1, will be Part 1, with a follow-up Part 2 that will show you many ideas for the finishing. At the end of today’s class, you will see we have all the flowers, stems, leaves and fillers ready to go for the follow-up class. I show you my semi-finished layout and talk about some of the finishing touches I want to add. Ideally, I suggest you keep the flowers to one simple shape that you will add the shading to.

In this class I’ll walk you through:

  • my step-by-step method for blocking in the initial shapes
  • tips for creating shadows easily with the Gaussian Blur
  • my workflow for use of layers and clipping masks to add the dimension
  • methods for keeping the art fully editable for later adjustments and recoloring 

If you’d like to try something a little bit challenging, this is a great class for you. The challenge is in keeping your head wrapped around the clipping masks and layering. This class will benefit anyone who wishes to learn more about adding dimension and methods to improve efficiency.

The key concepts I will include:

  • review of my organization of a complex illustration
  • a look at how to work with inspiration without copying
  • approaches you can take to arrange motifs to compliment positioning of lettering

Even if you are not sure what you will use the illustration for, learning new Procreate workflows is recommended. I think this art and technique would make a great greeting card series, for example. It could also be used for prints that a customer can download digitally and have printed themselves. I know you will create something dramatic and luxurious, and it’s so rewarding. I can’t wait to see your finished piece!

Intro to Dramatic and Vivid Luxurious Garden in Procreate

This short intro will give you an overview of the class Dramatic and Vivid Luxurious Garden in Procreate.

Lesson 1: Inspiration and Overview

In this lesson, we will take a look at what inspired me for this class. We look at the work of JP Patra on both Pinterest and Dribble.

Lesson 2: Blocking in the lower Shapes

In this lesson, I will break down the complete process of choosing what brushes to use as well as showing you my sketch of flower shapes. I suggest you go through the whole class before you do your illustration, or you can pause the class and do your drawing in preparation. I paint the flowers and I explain the reasoning behind the choices I make with regards to layering. I show you color drop for filling and by the end of the lesson, we have most of the shapes complete.

Lesson 3: Touch-Ups and Shading Techniques

In this lesson, I will explain the creation of the shadows on each of the petals to show dimension on the flowers. I will show you two key techniques I use and explain every step of the way. By the end of the lesson, you will have the beginnings of a dimensional flower by using the Gaussian Blur and the eraser throughout.

Lesson 4: Experiments with Overlaps

This is the lesson in which we experiment with the layer order. I want to be sure that it all makes sense and gives us the dimension in the way it works best. I show you a method to layer the shadow clipping masks to achieve that goal.

Lesson 5: Multi-Part Motif Issues

In this lesson, we will be taking a close look at the layering. I will be finalizing the flowers and some of the leaves and that will include creating clipping masks to make all the shadows work. There are a few tricky spots, and you will see as I experiment with different techniques. We are one step closer to finalizing our design now.

Lesson 6: Starting the Finishing Touches

At this stage, I will show you the finishing of all the additional motifs. We take a quick look at color adjustments and change some of the layer orders, as well as grouping and flattening to make our dimension additions easier. This is the last step before adding background details. I will be adding the background color into the piece and then we will talk about what you will see in the follow-up class.

Lesson 7: Conclusion and Closing Thoughts

We will conclude everything in this lesson. I will chat about next steps which will include the follow-up class. Hope to see you there!

Concepts covered:

Concepts covered include but are not limited to Procreate floral design, layering, filling with recolor, working with a sketch on darken blend mode, Procreate canvas settings, brush settings, Procreate snapping and guides, Procreate floral brush creation, the Brush Studio in Procreate, adjusting Procreate brushes, hue and saturation adjustments, sizing of documents and brushes, adding texture with brushes, Procreate brushes for adding other interesting details, workflow best practices, painting best practice, Procreate composites, techniques with paints and blending, and much more.

You will get the bonus of…

  • 55 minutes of direction from an instructor who has been in graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge

Meet Your Teacher

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Delores Naskrent

Creative Explorer

Teacher


Hello, I'm Delores. I'm excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, theatrical design and video production. My education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have been involved in art licensing with contracts from Russ, Artwall, Studio El, Patton, Trends, Metaverse, Evergreen and more.

My work ranges through acrylic paint, ink, marker, collage, pastels, pencil crayon, watercolour, and digital illustration and provides many ready paths of self-expression. Once complete, I use this art for pattern design, greeting cards,... See full profile

Level: Intermediate

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Transcripts

1. Intro to Dramatic and Vivid Luxurious Garden in Procreate: Hi guys and welcome. My name is Dolores aspirin. I'm coming to you from sunny, Manitoba, Canada. So today's class I'm bringing you is going to be based on the art of an artist I just discovered named JP Patrick. Her work is super vibrant, beautiful, and was definitely an inspiration based on some of the stuff that we've been doing lately. So a lot of what you've done in my classes in the past will be applicable today. We're gonna be adding a ton of dimension to some really vibrant flowers, flowers and leaves. And then we're going to layer those really densely, put them over a really deep background. We're gonna be doing a bit of experimenting. Most of the time. I do a project two or three times before I even recorded. In this case, I'm going for it. In the class. We're going to resolve a whole bunch of challenges. One of the challenges is in using the Gaussian Blur to do a bunch of blending. And the question is whether that's faster or using the airbrush tool is faster. We're going to experiment with both of those. I specifically tried to keep the amount of tools to a minimum here. So there's really only two or three brushes that we use in class. I wanted to really challenge myself to try these different ones out there, just basic brushes. So you're going to have them there available in the Procreate app. And I want you to come along for the ride as I experiment and try to really hit that inspiration piece. And of course, we'll go through all the inspiration that I had for the class. One of the first things we'll do is visit Pinterest to take a look at some of the samples that I have selected. And we'll look at JP's portfolio. There are a ton of steps involved, and we end up with tons of clipping masks. It's a little bit confusing at first. But once you get the hang of it, you're going to see that this is a really great way to work to build up that dimension. If you haven't done so already, I'm going to encourage you to hit that follow button up there. That way you're informed of any of my classes as I post them and any of the posts that I send out to all my followers. I'd also encourage you to get on over to my website at Dolores Hart dot ca. On that site, I share tons of artists resources and any news that I have, you'll get it there. Are you ready to get into this project? I hope I haven't scared you off. Let's get started. 2. Lesson 1 Inspiration and Overview: Hi guys, welcome to lesson one. So as always, I want to start the class with some inspiration and a bit of an overview as to what we're going to be doing. Let's get to it. I wanted to start this class by showing you a little bit of my inspiration for this piece. And ironically, this artwork, this girl here, she goes by JP, which is really great because I have no idea how to pronounce this. I really love this girl's work, and I have pulled up this sample that I've also got as my inspiration piece for a 3D lettering class that I also do. So I did a bunch of research for that class and I ended up running across this girl's work. And it ended up totally being the inspiration for this class, which is more to do with making these florals. Here is that piece and I found her portfolio and it's on Dribble, the one that I found anyways, she may have other portfolios, but on Dribble, you can take a look at all of her stuff. And she does a lot of commercial work as well. But there are definitely a ton of pieces that reflect her love of florals. And what a beautiful job she does on these florals. So that's kind of the inspiration I had. And I loved this deep rich background and this kind of a floral. Now, the ones that I end up doing in this class are different. I don't have quite as much detail. Of course, I did want to totally copy her whole technique, but you know how it is when you get inspired by something, it takes you in all kinds of different directions. And so in my case, it ended up being two separate classes for me to separate projects. And one of the big 3D lettering, which obviously this isn't 3D budge. Laurels here inspired me for the vivid florals that we are going to do in this class. So I would suggest that you get on Pinterest. And you can take a look at my lettering board, which is where I came across the artwork. But you could definitely also take a look at all kinds of vivid florals to find even more ideas. So here I just typed it in vivid florals on dark background. What I'm looking for when I'm looking to get inspired or when I am inspired to do something is a bunch of different methods to do a particular techniques. So I liked the sort of dark backgrounds. There's a few examples here. This one's really lovely. Flowers aren't super dimensional, but that could be inspiration. This piece is really great in the way that it shows different dimensions on each of the flowers just by doing some shading. And of course, because this is a procreate class, I've got some great tips and techniques to help you get started on your first one. Now take a look at something like this. I think this is really striking as well. And this one is completely different than what I did just simply because of the white outline that hasn't been added around each of the flowers. And it's still on a really dark background. And I liked the way in the background. There's a lot of depth just by having some darker flowers in there. So there's something we're keeping the back of my mind as I'm setting out to do my illustration. Wonder what would happen if we typed in here. T, o, r, m, a e. I had to write that down. And it just comes up with the same examples that we've found. So likely the website or getting onto her Instagram account to be how we can get to look at more of her work. Obviously, she's extremely talented and what's actually went through a stage where she did a lot of those florals on the dark backgrounds. This one's really cool too. I did take a look at this one and it reminds me a little bit of negative space trees project that we did. Now if you take a look at the individual leaves here, it also reminds me of The airbrushing 3D airbrushing class that we did. So some of these techniques you're already a little bit familiar with. So I think that this is gonna be a fun class because it's just like taking that set of techniques instead of methods that you already know how to do and just taking them one step further or taking them in a slightly different direction. I think we looked at this one already and this one, I think we did that. Take it easy. I mean, some of these are just so striking and really a lot of them are quite simple. When you look at this, I mean that pine cones are quite detailed, but everything else is actually very simple, as well as in this one here. And it looks like this flower is similar to one that she did in another artwork. So maybe she has recycled some of the elements, like these flowers look exactly like these flowers. So I'm thinking that she does sort of like what I suggest that you do sometimes and that's to reuse some of the assets. And this is really neat where she's actually showing for design process. So going through someone's Instagram is one of my favorite things to do. And B is just a great way to just learn a little bit more about technique and how a given artist goes through and develops a piece of work. Now these are gorgeous and you can see the original contour drawing and then adding some shading and then hearing is tied into a technique or an artwork. This one does have a little bit of a 3D spin to it, that lettering, that letter, which it's saying. So I think one of the things that is really important for us to do in our development is to do a lot of research. And this is exactly what research I do. And what research really works when you're first learning. It's something that's going to get stored in your memory banks and you don't know when you're going to pull from it. There'll be working on a piece and you'll suddenly have an idea to do something a certain way. You're not sure where the idea came from. Botany could be from all of the research that you've done. While this one is just gorgeous, maybe we'll even do some experimenting with adding a little bit of texture because I think that texture really adds to this piece. I would love to see this girl in action. I would really love to watch her go through her whole process and see how she breaks down her methods or her old methodology for doing something like this. Looking at it closely like this, I could definitely explain how to do a lot of these because I can see right now and you could just have a single circle here and use a clipping mask to add these areas of color and then another clipping mask to add the texture and room. You've got that technique kind of covered. Who I should also point out here on the ribbon, how she's managed to get so much dimension just by adding these areas dark and pretty some texture behind there. So these are all things to file away in your memory banks. Who knows when they're going to come up. But I think in this project we're going to have fun and experiment a little bit with different techniques for adding dimension. And just make our artwork super vivid and see what we can come up with at the end for a finished use for our floral. Alright, I will meet you in the next lesson. 3. Lesson 2 Blocking in the lnitial Flower Shapes: Hi guys, welcome to lesson two. In this lesson I want to block in the main shapes of the flowers. And I'm going to explain to you how I use the continue with the recolor tool to quickly fill additional shapes that we have. I'll explain as I get there. Let's get to it. So for this class, I decided I would do the sketch and advance because I didn't want to spend too much time on the sketch. I want to spend more time on showing you how to create the effect that I showed you. So what I'm trying to do is create these flowers to be super dimensional. And I've added a bunch of little things here. These are all on separate layers by the way. So when you are doing your sketches, so you can see, for example, that I ended up enlarging these a lot. That's why the line is thicker and this is just a sketch, so it's just there as a guide. And you won't even see this as part of your finished art. I've also got the flowers all separate so that they're easy to move around, turn off magnetics and snapping. And I can even do things like rotate them if I want, if I think that the composition would be better if I do that. And all of this, like I said, is on a completely separate layer so I can move each of them individually. What I did is I took the time to do that before class so that you would be able to concentrate more on the overall of what we're creating here. So I'm going to group all of this together. I've got that all in one group. Then I can duplicate the group and flatten it. And what you might want to even go in and just duplicate your document at this point so that you have your sketch completely separate, if ever, you need to make any changes to it. So I'll open it up this version of the document. And for what I'm doing, I basically want to paint these all as solid shapes to start out with. And then we're going to create the shadow areas. I will generally do all of them on the same layer if they're all the same color. So for example, if I have all of these flowers the same color, they're gonna go all on one layer. I'm thinking that what I will do though, is keep all the stems in a separate layer for each because I want this sort of overlap effect going on and I'm not quite sure how I'm gonna do that yet. So let's start with inking the flowers. So I'm going to add a layer for the actual inking and I'm putting it beneath the sketch and the sketch itself, I'm going to put to darken and I'm going to reduce the opacity a little bit. What darken does is it allows you to see the sketch on top of everything that you're doing. So it will always be there if you want it, you can turn it off if you don't. But for now I think that's what I'm going to use. And let's choose a color palette that would be really sharp for this, I'm thinking really rich, rich teal and pink. Pink is for the florals, Let's call it actually might be really nice for this. So let's choose this as the default. And actually this is one that is already on my website in my artists resources. So it's one of the free palettes that I have there. So you're welcome to go and download it. And let's just start inking in the flowers. Choose your favorite anchor. I'm going to use my tapered pen pressure brush. That's my favorite, but it's very similar to the one of the inking brushes that's built right into Procreate here. So if you go to your Procreate, built-in brushes, go to inking. I think it's very similar to like a syrup brush here, so you can definitely choose that. I've just got my settings exactly the way I want them here. So that's the one I'm going to use. So now let's switch to disk here. Clear this, this is the color palette that I want to use and I think my goal with a really nice rich red for the flowers. So I'm going to be actually inking these all in one piece. So pretty much I'm just doing the contour and filling it in. Because when we go to separate out and do sort of special shading to separate out the petals. It's easier to have it all on one layer like this. I'm going to check my stabilization here. Yeah, that's pretty good. I got that pretty high. So that should be giving me a really nice smooth line. And remember that you can always stop and then use the power of the procreate tools here to get your lines even straighter if you want them to be. I'm actually okay with this amount of state stabilization. If you're more successful making a line in this way with a curve which obviously I am working backwards, is not working for me. So I switched the angle and let me think, do we want these to be the exact same? I'm thinking they look like different flowers, so let's go to a different color. I'm gonna go with that really deep, rich reddish color. And normally I would be telling you, keep all these petals separate, or at least the foreground background separate, because that's really the easiest way to deal with. Shading them differently, but I'm gonna be showing you a technique that I've kinda worked out that just to me makes it so much faster. So I just thought that I'd want to share that technique with you because I think you're going to actually really like it. The key is this sketch, and the sketch is going to help us later on with doing the shading. Looks, what am I doing? Why am I doing that all separate, silly me and I could hear my neighbor outside whip or snipping, and usually that's followed by loud lawnmower. So I'm hoping that he's not going to interrupt my recording time today. I feel like putting a sign outside my house that says recording. Please be quiet. I don't think that would go over too well. So there's my sort of main flowers. I've got them all on one layer. Normally I would be say, you know, put this all separate. I might be later on wanting to separate them out. Maybe for now we'll do these little flowers. I'm going to use that yellow there. Now these were all the exact same flower that I just ended up kind of rotating and repeating in different shapes and slightly changing the skew of them. So I, I'll show you what I did here. This is a case where I'm going to I'm glad I did it on a separate layer because I think that the way I hear it comes with this more. I really hope that doesn't pick up. I don't know why, but I've got two different colors going on here. So I will just continue with this one. And I will alpha lock it and then fill it just to be sure it's all the same color. And then I will alpha lock it. And then let's just duplicate this one and I'll show you what I did. Wait, what's going on? What else is on this layer? It's like something else is down here. Oh, I see. There must have been a little mark there. Maybe. Instead of duplicating the layer, I will just duplicate the flower by doing cut and paste, copy and paste. And I see it like that first one. Yeah, I know there's something here. Now I can take this layer, duplicate it, but I can also rotate it to make it look slightly different. So now I can take these to group them, duplicate the group, and move them into a different location. Maybe another sort of a change there doesn't matter that they're exactly the same as the original. I can get them approximately like that. And then remember that you can also go down here and distort it by grabbing just one of the handles and moving it. Or you can even warp it, which would give it a little bit of a different feel to it as well. I'm going to duplicate this one as well and then bring that one back over here. And we made up using these little flower somewhere else as well. And what I may end up doing when we get to the shading stage is doing one or two of them and then repeating those so they have the shading on them. But now let's go through and do some of the leaves and stuff. So I'm going to add a layer here, and I'm gonna go with the screen here. I think let's do this 1 first so I can my brush nice and big so that I don't have to worry too much about the thickness of the stem. And I like this brush because it's really responsive to how much pressure I put on. So you can see here that I'm doing it a lot more lightly here as opposed to the stem. And so my thickness is a little bit finer, and I like that. And here I am going to go with a different layer and slightly change the color of it. For one of these, again, more pressure will give me a thicker line or outline. And what I'm doing here too, is I am making sure that the leaves are actually quite wide so that I get a really good area that I can do that shading and eighth, There's two. I've just changed the color slightly, just so that right now I can see the difference. See how I feel. I'm going to actually do that again because I can see that there was a bit of edge around it. So I'm pulling a little bit more to the right to increase the color drop threshold. And now I'm going to hit continue filling with re-color. And then I can just drag the cursor to the crosshairs there into another section. I mean, it's not that big of a deal to just fill it, I guess in this case because I don't have a million spots to do, but sometimes it makes a difference. And I'm going to go to that mid green, but I'm going to go a little bit too. The blue to do this back one here. And having a darker will definitely also make it look like there is a little bit of depth. So we've got some things that are in the background. Okay, so here's me filling with the recolor tool than hitting that continue with re-color, dragging the crosshairs in and then tapping on the next section, I see on this one here, I forgot, I forgot one leaf. So I'm gonna go back to this one, sample the color and add this leaf. Whoops, this is the color I want sampling. I could use that for these leaves over here. So I'm going to, I think I can just do them on that layer, honestly, I'm going to grab that, that TV green. I'm going to do these. I'm just wondering, am I going to regret having that on the same layer? I might, so I'm going to just do these two. You don't want, I think I'm going to do these particular ones on separate layers just because of how they overlap. So maybe I'll go a little bit lighter or something just so that we can see the difference here. I guess that's pretty subtle, but it is different. And then I can go to one of these other layers and add these. So I'm going to go through, and I'm going to do all these little ferns as well. And I'll come back to you in the next lesson and then we can talk about how are we gonna do that shading. Alright, I'll see you there. 4. Lesson 3 Touchups and Shading Techniques: Hi guys, welcome to lesson three. Less than three here we're gonna do some touch up and then I'm going to explain the whole method for using the Gaussian Blur to do some of our blending and creating the gradients that we need to give these leaves dimension. I'm just going to really quickly show you about that re-color tool again. So when you do continue filling with re-color and you go to one of the sections that you want to color with the crosshairs. Then it's so quick because you can just go through and tap to fill all the other sections. My $0.02 worth about that particular function, and I still have that little yellow bit there. What flower is that on this one here? Erase that. And there's a couple of little spots here that I missed when I was first doing that re-coloring. So that's this one here. I'm going to sample the color and then just quickly fill in. I should have been a little bit more careful there when I was first doing that feeling because I usually check for stuff like this. The other thing you could do at this stage is just, you know, maybe little touch ups on things like this. If you want your leaves to all come to a really nice extreme point, then go through on all of your layers and just fix them up. Then don't worry about the stem. For now. We can change the layer order later on to deal with that or touch them up later on. I think I've got all my leaves and stems touched up as much as I need. And at this point, I'm going to actually shut off all of those. And we'll start with these big flowers as our first attempt at this shading technique that I want to show you. I'm flipping through that layer, making sure that that one is active. And I'm leaving bye sketch layer on for now because I think that it will be helpful for us for when we're doing this shading, I'm going to add a new layer and I'm going to use the same tapered pen pressure brush that I've been using. So whatever brush you have been using, you don't have to switch out of it. I guess if you want to, you can also go, I didn't do this. I made it a goal, but you can go in and fix the shape on some of these if you want to. And then what we're gonna do, and I know it's going to sound really strange, but on this empty layer here, we're going to choose a different color. This is the red that we had. I'm gonna go with this one which is quite a bit darker. Let's just try that 1 first. We might even end up going to the really dark one. This, I could actually shift over to this side. I kinda like my color palettes like this where I can see the colors and sequence, but I'm going to pick that maroon color. And for now, I'm just going to draw wherever I know that I want shadow if that makes sense. So basically it's wherever I see a Join line like that. So between the two, I want to have a line. So it's like going through and looking at the contour of your flower and putting in a line there. Then we're gonna go to the Gaussian blur, and we're going to blur it, and we're going to try this. Let's try this one about 4% to start out with. And then what we're gonna do is use the eraser with the same brush again, too, sharpen up the sections on this side that is in the foreground. So what we want is that there's a shadow that ends up showing up on both sides of these and a sharp line that sort of finishes them. I know that sounds really complicated. I think, sorry. The plug-in there. And I think that with the sketch off, it might make more sense. So I'm going to shut this catch off and I'm also going to make us into a clipping mask. So you only see that Gaussian blur right there on that layer. And I think I might even blur it a little bit more. And this might end up being too small, so we might end up having to go back. But what I wanna do now is take the eraser and I can see that this is going to be too small. So I'm going to clear this layer. I'm gonna make my brush quite a lot larger. I'm still on that layer. Let me put my sketch back on temporarily and I'm going to run that same line as I did before. Just always make sure that you're on a blank layer above your flower. So I'm going quite a bit bigger this time. And you see how I've got all of those lines in there now, I'm probably going to trim a bit off of that side of that flower. But for now what we can do here is again, I'm going to shut off my sketch and go into the Gaussian blur and blur it. And I think that's a lot better because what you wanna do is make a sharp line going along the inside edge here. So basically what you're doing is you're erasing anything on the pedal so that all you're left with is the shadow on both sides of it. So let me shut off the sketch and you see what's happening here. So now this looks like it's in the foreground because it's got such a nice sharp edge. So let's go back to that layer. I can smooth that out a little bit more. And you can see here, right in this spot, I've gone way too far. Oh, there's two ways to do that. You can either read you what you've just done or you could also go back to this layer, sample the color, and go in and just enlarge it so that it actually fits. I can see there are two that I also had that sort of inner line from not filling it correctly in the first place. So you understand what I am doing here. So here there's also a mistake because it's not lined up to the edge of the petals. So in this case I'm going to turn it around so I can get a better line and make sure that I am on the blurred layer and I'm on my eraser. And for my eraser I'm using, you could use a brush that you were using. I'm using a Posca paint marker, which is my monoline brush, so you can get the monoline also. This sets the inking brushes, I believe, or the calligraphy brushes here in Procreate. And here let's just pull that line so that we have more control. You can see, even with the eraser, you can do this and then you can line it up perfectly. So that's basically belong to the short of what you have to do here in order to get your petals to be shaded. Now the same thing with this one. You would get right to that edge there and come all the way down with it. Now, in this case, I think it would have been better to have this, these two lines on a separate layer. Because you can see here if I go all the way across here, I'm disturbing that part of the lines. So let's move over to this flower here, and we'll do this one correctly. So I'm going to turn my sketch back on. I'm going to, I think I'll do it on a separate layer. I'm going to add that layer. It's also going to be a clipping mask. So it'll go in on this one here. And let's first do this one. And we'll work our way in doing one at a time. I'm gonna go back to that darker color. I'm going to go with my tapered pen pressure brush. Correct that one little thing on this layer, I want to have the point for this petal here. Do a little touch up while I'm at it. And so this clipping mask is going to be the one where I blur. So I gotta get my darker color. And I'm drawing basically around that pedal there. Then I'm going to blur it. And let's keep track. That's about 7%. So once you decide on 7%, then that's what you're gonna do for all of them. So now let's line right up to that point. It was to where it overlaps. That's where you want to erase. Let me turn that sketch off for a second. And you see that you're gonna go right down from there. So I'm gonna do it like this. Her leg in a little bit more. And then you can go with a bigger brush and you're basically erasing anything within. And we've done our first petal there. Okay. Now you can go back and turn your sketch back on and go through and do the next petals. So let's do that in the next lesson, I want to show you how that layering of work. 5. Lesson 4 Experiments with Overlaps: Hi guys, welcome to lesson four. So some of the shapes are a little bit more complicated and we have to do a little bit of overlapping. I have figured out a couple of different ways that we can make this easier. So I'm gonna go through those in this lesson. Let's get started. Okay, so for this next level, I want to add another layer. So I'm gonna go above that one, make it into a clipping mask. Go back to my regular brush, which is my tapered pen pressure brush. And again, got the dark color. They're gonna go in nice and dark here. Go to my Gaussian blur. Move to 7%. I think that's what we decided on. And then now take my eraser and erase right along the front edge. That makes sure you clean off any of this over spray. So anything that's kinda beyond. Before I start doing that, I'm going to turn off my sketch and then I can make sure that I am perfectly lining up and cutting it off right at the edge of that petal again k. So you started to get the idea here, right? We're building it up in layers so that we can really get that depth happening. So now that we've got those two under our belts, let's add another layer. Again. We're going to make it into a clipping mask. We're going to go use that same pen pressure brush and the same color. We're going to pull a line along the edge of that pedal, make it nice and wide. In fact, ease in the background can be quite wide in comparison because they are receiving their further behind and they've got more shadow on them. So now we can take this Gaussian Blur and really spread that. And so this is 7%. So let's go a little bit more. We'll go nine. And then we can now go in and do our erasing. So I'm using Procreate's power to straighten to help me pull a nice line there. And then we're going to erase everything within as well so that we're lining up nicely to that pedal. You could experiment here. You could try. If you were to use, let's say, an air brush as an eraser, Let's use a soft airbrush. And so when you get to that end stage where you've just got the overlap, it's possible that using sort of a medium airbrush that you can probably erase it without having to be too exact. Because that's going to give you a good amount of subtle transition there. So that's something to think about. And also this one I did too big, so I'm going to erase that one a little bit just to soften it. So you can see that it's really important how you get the layering. And I'm thinking that in this case, I may have done this completely wrong, but these petals here should have really been in front. So definitely take some time to experiment with that first, so I'm going to delete it. So instead of next time going with a straight line this way, I'm gonna go with this straight line this way. And let's see how that looks instead. So let's just clear this layer. We're going to go back to our big brush and our dark color. And you know, when you're working with the colors too, you could be going darker and darker as you get more into the background. So let's grab, let's make our lines here. So instead of going along this way, what we're gonna do is go along this way. So I'm going to put the line this way and this way, and we'll do the blur, 7% or 8%. I could see I need to touch up that red in the back a little bit. Get the eraser. And this time we're going to erase along this edge instead. Of course this edge. And what do you think? Which one do you think looks better this way? Or this way? I think I like this one better. One of the things I might do is go in and shorten those a little bit. I do have to touch that. Read up a bit. So let's sample the color. And by enlarge here, I can see it as a rule, a good idea to go in and enlarge anyways, because there's always something that you see when you go a little bit bigger, like things like this where I haven't done a very good job of lining that particular shadow up. That was this one here. And you know, at this stage, you could go back to your read and do anything like this that you see like if you decide, okay, I don't really think that needs to be quite as high. Then you can go in and erase them and make them smaller. Rounded that off just a little bit too much. Making my brush a little bit smaller. Yes, I have to go even smaller to be able to do little things like this. So that's looking super dimensional. I really liked that. And I think that in the next lesson we'll work on these flowers here. And one of the things we can decide on is whether or not it makes sense to have them all in one solid shape like this, or whether in some cases it might be better to have them separate. So let's decide that or take a look at that in the next lesson. 6. Lesson 5 Multi Part Motif Issues: Hi guys, welcome to lesson five. So some of these motifs are a little bit trickier because of the layering that has to happen in order to make the shadows work correctly. So we're gonna go through that in this lesson and I will try to walk you through it. I need to run into trouble. So it's just something that happens as part of the process when you are doing this kind of illustration. So I want to just go through it step-by-step with you and you're going to see exactly what happens and how I deal with the problem. Okay, so for this particular flower, I decided to put this pedal separate. I'm thinking that will help us out when we're doing this shadowing. So for now, let's just work on this one here. I've added a layer directly above it. And because it was within this group of clipping masks, it made it into a clipping mask immediately. So on that layer, we're going to use that dark color. I'm gonna go back to my tapered pen pressure brush and hold the lines that I need for the shadows that I'm creating. Now, I'm going to want shadow around where that petal is going to be. So let's just try doing it this way. So this is an experiment for all of us. So I'm going to go to the Gaussian blur now and blur it to about that 7% mark seems to be pretty good from what I've seen of what we've done. And I'm gonna get my eraser. And again I've got my Posca paint marker, which is a mono line that I'm doing, my erasing width. So what I wanna do is continue that line on there. And what I want is for this pedal to be in the foreground above that one. So I think this is the side that I need to do it on. I've made my brush quite a bit smaller for doing the actual pulling of these lines. And that's such a nice curve that I think I could just use procreates arc creation tool there just by holding down my stylus at the end. And that's given us a really nice clean line there. So think about this now. Do we want this one to be the foreground? Or do we want that one to be the foreground? So I'm thinking I want this one to be the foreground. So this is the one that's going to have the hard line. So I don t think that that shadow that I was taking a boat for that is going to work on this layer. So I'm just taking it right off and try this again. I want it to really curve. I can get way over here. And I think it's just easier for me to just get rid of that shadow there and we'll deal with that later. So that one's going to appear to be in the foreground. So I think that's exactly what we need to do on this one here. So I think in this direction would be the best way to pull and erase all of this off. So that's worked perfectly for that. Now let's turn on this petal here so you can see what we need here. We need to have shadows all the way around it. So let's add a layer here. We're still going to clip it. So it still clipping to this grouping here. But now we can draw, so basically following the outline of it here and you can see that it's just going to sort of peek out from underneath that one there. And we're going to apply the alert 7%. And you know what, I liked that one, that was really easy. I don't have to do any erasing at this point, right? So let's turn off the sketch layer and you can see that work. So I think maybe in a case like that is easier to have some of the foreground petals off of the main flower. I wouldn't have wanted to do that with all of it, but with one, it's okay. Now I do want to actually add a little bit of shadow here to that part. So I'm going to add a layer above this one. I'm gonna make it into a clipping mask. And I'm going to get a smaller pan here and pull a line like this. Again will blur it, can't see what's happening here. So maybe a little bit less in this case. So maybe four or 5%. And then when we do the erasing, what we're doing is continuing the line from the edge there so that you get that dimension. So I think that's really cool. I think that we're starting to get really lots of dimension on these flowers. And next is this one here. So let's take a good look at that one and see what we can do. So I'm gonna go back to this layer, sample the color, go back to my pen pressure brush. Make sure you've got the right color. I can do a little bit of touch up on that. I think I got most of it. And there's a little bit here, really annoying when that happens, when you, you think you feel something solidly and then you have that little haze. And that's my own fault for not checking that I had this threshold correct when I was doing my original selecting to fill. Now, what I want to do though with this one is separate that front bit too slow. Let's go to the sketch for a second and you see that pedal there is what I want to have separate. So what I did last time is I just erased it, raise that petal right off and I'm going to go back to my pen here, redo that, and then I'll add a layer. And I don't need this to be a clipping mask. It rather than. Rather than do it there, I'm going to do it up here. I'm going to add the layer. And that way it doesn't get mixed up in those clipping masks. And if you want, you can hide this red layer underneath so that you can get this trace properly. This shouldn't be a clipping mask, so I'm going to move it above that shading and unclip it. And then now I can just draw this. And you can see right away where we're going to need to be doing that shading after. But for now, I'm going to just draw this as one big solid shape. And this is where I should have checked that thresholds. Why should go almost up to the top to make sure that I don't get any haze of an outline. Now let's just turn this one off. Turn this one on, and think about what we're gonna do here. Oh, you know what, this one has, this sort of a folded pedal here. So I'm wondering if we should even do that with that pedal. Let's try to get away with not doing it. Maybe for now, I'll just turn it off temporarily so that we can work on this part of this flower here. So that's it down here, still on the same layer as the other ones. I'm going to add a layer above. And you can see why I ended up not separating all of these. Because can you imagine how many layers we're going to end up with if they were all separate as it is, I may run into an issue with the amount of layers, so let's hope not for now, I'm going to switch to the dark color here and make sure that I'm on the layer that I want to be. And then pull those dark lines, which will be our shadow. So those two, and actually I think this one, I'm going to have to pull this way. And then the one that will be the shadow this way. And this one, I'm going to make sure that the end of it tucks down into here. So I don't have to worry about the erasing there as much. And we'll go in and do the blur. 7%, ish, grab the eraser and making sure that it lines up there. I thought my eraser a little bit smaller just to make it little bit easier to deal with. And this one I want to line right up to here. So maybe I'll pull in this direction. It's a comfortable way and I'm making sure I erase all of the over over spray so to speak. Now I'm not sure that this is okay Here. Let's just check it out. I'm going to turn that off and it's almost like it's too big. I've got I've got too much there. So in a case like that, I would just grab the soft airbrush and take some of it away. Overall, I could do this one better. So maybe I'll just clear this layer and quickly do it again. So it seems to be best if you bisect the line so that you get some of the shadow on both sides once you blur it. I'm going to put my sketch back on so that I can see that line. And you can see that I'm doing it differently. I've just changed my mind about how I want those different layers to look. So instead of having that one go over, I'm having this one be in the foreground and so the shadow will be behind it. So let's see if that looks better. Blur. Then erase brush, which wouldn't have been a big deal back there. I'm wrong. Eraser, sorry. Eraser choice should be your hard edge. For the most part, I only use the soft eraser when I was trying to correct what I did, but it's just easier to start over sometimes, so that's what I'm doing. And then here, I think that looks alright, so let's check it without the sketch. And yes, that works perfectly. So now let's turn on the other little layer there. I'm going to show you the sketch just so that you can see what I'm after. So a new layer above clipped to this one, change it to the dark color. And this is a line that I'm pulling. I gotta go bigger. So Blur and maybe 7% is still good. And now let's erase it. I'm going to go smaller with my eraser so that I can get down into this point here, nice and crisply. Can even go a little bit smaller. I want somewhat of a point there. I can now go bigger to just get rid of all of the over spray. And you're thinking to yourself, yeah, but what about this line around here? So let's turn off the sketch and you are a 100%, right? We have nothing there showing that we have a shadow. So I'm going to make a new layer here. And on that layer, I don't want it to be a clipping mask, so I want to put it below this one here. We may end up clipping it to the big back part of the flowers. So let's first draw that in. I guess we can go down here as well. We'll blur it. And that's worked perfectly, but we do need it to be cut off. So I think in this case it's just faster and just as effective to just erase this over spray. So I think this is great. We're really getting there. We've got lots of dimension on these flowers. And at this point, I think it would be fun to start working on the leaves. So let's pull this one down below, first of all, so that it's hidden behind there. And let's just check it nice and big. It looks a lot better than the flowers were. It a little bit of touch-up there. And let's go back and look at those leaves that one of the artists had that we were looking at on Pinterest. This one, in this case, she's just caught like dark at the bottom of the leaves. Let's see what else we can find here. In some cases, the leaves are divided. So you can see that the leaf itself is divided. I kinda like that. So maybe let's experiment with that. We do have two different plants going on here. So this plant and this plant are different. So we could probably have fun and do something a little bit different for both of them. So let's go to that layer and add a layer above. We're going to make it into a clipping mask. And let's go. I like that effect that they had with kind of a light, really light color, like a completely contrasting color and it go a bit brighter here. And let's think about this. We're gonna go through the middle of leaves. I'm not a 100% sure how we're going to end the bottom there. Maybe I will stop sort of where it would be the bottom of the leaves. And you know what, I'm going to go even wider though I'm gonna go, I'm going to do something like this because I want it to end up forming. A gradient is the one. Sometimes when the curve is too subtle, it's not really going to work to pull and hold. Let's see how this one That's not too bad. Okay, let's blur it. And again, you can experiment, so maybe I should go quite a bit wider. So in this case I'm going like 11% and then I'm gonna go back with an eraser to give me that sharp line in the middle and doesn't have to be a straight line. You really want to follow the contour of relief to make it look good and make sure that you get rid of all that over spray. And I think that is super pretty. I think that would be something that we could definitely work with. So let's do that with this next set of leaves. So this one here, I think I'm going to change to that green because it is the same blanch or maybe just slightly change it. So again, you can see where I had issues with that Phil. Silly me, not too bad. A couple of spots here. And I think I will use hue and saturation to get the color a little bit closer to this. So I'm moving a little bit to the right because that was kind of a mossy green saturating it, darkening it so it's getting close, maybe a little bit bluer and maybe I'll just have it a little bit darker anyways, because then I can stick it behind and it'll look like it's in the background. But again, I want to use that bright blue that I use. So that was something like this. I'm going to add a layer and make it into a clipping mask. And let's pull some lines through the leaves again. And it seemed to have worked out. Okay. Stop at just before the end. Because once it was blurred, it looked alright, wow, I'm getting shaky. So Gaussian blur, I may have needed to make those a bit bigger because these leaves are bigger. Myself do it now. And I think we went to 9% or something like this. Let's get 11% and through and erase like that. I think in this case I'm going to use that soft airbrush for an eraser to just soften the end part of this one here. That turned out quite nicely. So what we'll do is grab those two and move them way down so that we have them below this plant here. And we do have this leaf on here, so we can do that one as well. I'll do one of these right now with you and then I think I'm going to have to do that on a new layer just because I've already blurred that other layers. So here the sample, this color, to fix, fix this up and switch back to the proper brush, wrong layer. I'm gonna be back here to do that. And on this one, I'm going to do basically the same effect, but I'm going to use a different color. So I'm going to use maybe a deep yellow and let's see what that looks like. Pull it nice and wide. I'm not sure what we'll do here. Blur it. This time. That looks like I bought 13% and then erase. And I knew I was on that airbrush switch back to the posca because I really want to have a nice sharp line here. You see how far it blurs it a like when you go to erase it, you realize, wow, that was, that was far. So not sure I'm going to love that color, but I'll do the rest of it first before I make that decision is so easy at this point to go through and experiment just by using your hue and saturation to change the color. I think, I think I do like this bluish tint, so maybe I'll leave it at that. And what I'll do off-camera is the other leaves that are like this. And then we'll come back and do these stems on these two flowers just to see what we could do that would make a difference. Alright? So I'll see you in the next lesson. 7. Lesson 6 Some of the Finishing Touches: Hi guys, welcome to lesson six. Less than six. Here we add some finishing touches. I want to show you some of the things that I did to just kinda fill out the space a little bit more. And then we'll talk about next steps. Okay, just to make this move along a little bit faster, Let's try faster technique with these particular stems. So we've caught, these are the same layers as these leaves here. So we're going to have to make different clipping mask. I can't use the same clipping mask that I did before. And so this will be this one that I'm working on at the moment. And what I wanna do here is have that gradual from the top to the bottom sort of gradient. So to do that, I think in this case, the fastest method is probably going to be to airbrush. So we're gonna go with that soft airbrush and let's see how big it is. Makes sure that it is nice and big. And it's, we're on that correct layer here. So we can just suddenly darken the leaves from top to bottom. So maybe about halfway Start and here I'm barely pressing. And then as I get to the bottom, I'm going a little bit darker. So here I can also switch to a darker color just to really get that real depth of color there. And I'm going to add a little bit of dark sort of underneath the flower. We're going to pull this layer and it's clipping masks here down to be below the flower. And then you have to in this case, tell it not to be a clipping mask. So the actual layer itself has to be below the flower, but it can't be a clipping mask. And let's go back and grab that shading. I should have grabbed that in the first place. Make sure you put in the right spot. And there you have it. Now, it might've been cool to have that leaf a little bit lighter in the first place here too. We can think about that later when we put the background in and decide whether we want them lighter or darker. So let's find the other stem. So that's this one here, and that's going to tuck underneath as well. So let's grab the two of them and bring them down and go below the flower layer, makes sure that that isn't clipped to the bottom there, does have to flip back to the layer because that's the shading for these particular leaves. And now we want to add another layer and make it into a clipping mask to go in and do our airbrushing. So we're currently at the darkest color or add a jerk color, darker green. You can select the green that you have in your palate there. And again, I'm pressing quite lightly and then heavier as I go to the bottom. And again, I want to go nice and dark. And you can decide, do you want this one to be the darkest or do you want that one to be the darkest? And I'm thinking this one because it's behind. So let's go to it's dark layer. Now this is getting complicated. So this is the layer here, that's the darkness and going in darker, even go to a pure black. And I'll put that on very lightly at the bottom. But I think that that's starting to give us some depth there. So we've got these kinda taken care of. We may end up changing those a little bit at the top in the end. But now I think it's time for us to start working on some of these other things. So I think for now, it would be wise for us to group some of the flowers or leaves or whatever stems altogether. So I'm gonna go ahead and do that now. So I'm grouping. And you can see that everything to do with that stem is together. And so we'll do the same thing here. And then everything to do with the flowers and does not make our layers palette just so much more organized. I think we could just grab all of these and have them in the same group. So this can go into this group. So all of the yellow flowers are now together. I'm going to turn them on, but then turn off the entire group. And then what would be left are these little ferns that I wanted to next. So let's take a quick look again at some of the inspiration pieces and see what we might want to do. So here's an example of a branch, and in this case, what the artist has done is a dark section in the very middle of it. So that's something that wouldn't be too difficult to do and would add a lot of depth to each of those. So let's go into each of those groupings and see what we can do. So we'll add one layer for a clipping mask. And in this case, let's just grab a really dark teal color. And right now I'm just using that same airbrush and just drawing towards the very center of each of those. And in this case, because we're not doing any changes in depth in the way that we had to on the flowers and on some of these leaves. I think that, that looks just perfect. I think that's going to be absolutely lovely. And so the last thing to do would be the little flowers here and you can decide on how you want to do those. I'm thinking that it might be faster at this point for us to just take these and flatten them into one so they're all in the group. You don't have to individually select them. All you have to do is hit flattened. And they're all in one group. And then you can add a layer and make it a clipping mask. And I'm thinking that what would be good here would be a darker center and then we'll maybe put something in the foreground above it. So let's sample that yellow and we'll go a little bit deeper. So it could be this color here. Again, I've just called the soft airbrush. And so I'm gonna go sort of mid-size there. And I'm just kind of lightly brushing in the middle like this. And that's giving us quite a lot of depth there. And then I think we can just add another layer above. And let's go with that mono line brush. So in my case it's the Posca paint marker. And we'll use that to make the dots for the inside. Depending on what size you're thinking. You could go in and make adjustments here to the size. And you should be able to drop in just a single dot for the center of each of your circles and decide on what color you might want to go with. I'm just hitting it with red here, but it might be just equally as interesting to do something like a mid tone teal. I kinda like that, so I think I'm gonna do that. And then I'm going to add a clipping mask to this one. Whoops. What I want is a separate new layer to clip to the dots. And I'm just going to move this one here is really off-center. So this is where, oops, where that tapping to move a point or two over is very helpful because you can make such a fine adjustment there. And very quickly, we've got all of those moved to where we want them and then on the clipping mask layer, but I want to do there is go with a much darker teal, a smaller pan. And I'm actually just going on the outside of the circle so you can't really see it there. So just imagine you're tracing like the outside of the circle itself if a little bit peaks over, that's okay. Because I know that you know what, the next move is going to be here. And that's to go and apply the Gaussian blur. See what happens is it just kind of leaks it into the area that we want. I'm not sure why my screen just suddenly darkens. So I hope that looks alright to you. But I think here we've got all of the flowers and all of the petals done. This is a point at which you might start questioning whether or not you like the colors and how you could make things different. One of the things I would likely do is go to this layer here and select these two and go into my hue and saturation and just change those two. Now, because these two are the ones selected, they're the only ones that are gonna change in color. And I'm just thinking I might go a little bit more to a pinkish hue, so I'm not really changing it a whole lot. I know 47% or something would work. And overall, I feel like I'm really happy with the colors of everything. And the last thing I want to do here, just to finish off this lesson, is to go into the background here and fill it with a really intense color. I think I like that heel and right away you can see how dramatic everything we've done locks because of all the shading and the highlights and so on. So I think I'm really close to what I can, what I would consider my finished layout. I'm going to probably go in, add some lettering and add some texture, but I think that I should probably do that in a second class. So I'll do a follow-up class to this one where we're gonna go in and add a ton of texture and stuff and we'll do it together. I'm going to show you this was kind of an intermediate one that I did. So I had made a few little adjustments here. And then the final one, I really, really filled in a lot of the empty space. Once I had my word in there, I duplicated a bunch of these firms to stick around in the outside edges just to give it some depth. You can see here that I've got some really deep versions of that one that really make it look like there's a certain amount of distance it all receipts. So I think that really builds up this sort of gaps that I'm looking for. And I did that as well with these leaves. So you can see that those leaves are now also repeated in the background here, nice and dark. And then, of course, duplication of these flowers and repositioning and slight changes in color. And I've actually even done more changes to this. I'm adding texture. I only just started it on this layout here. But what we'll do in the next class is we're going to do all of those things. So we're going to duplicate what we can to put around in the background. I don't know. We might even possibly draw other motifs. We're going to duplicate some of these to fill in this space. And I'm going to show you how to do all that dark stuff in the background. And then we're gonna do a bunch of texture. I think I'm going to spend a couple of days over the weekend doing that sort of thing, adding that texture. And then we'll come up with a second class. So hopefully that second-class won't be quite as long, but it'll give you a lot of ideas. I purchased this font specifically, though we'll talk about that. I'll show you how to do things like add the drop shadows and so on to give the lettering itself depth. So we'll talk about all of that stuff in the next class. And I think that you will find that you can really improve your layout with some of the things that I end up suggesting. Alright, so I guess I'll meet you in the windup and there we'll talk a little bit more about next steps. I'll see you there. 8. Lesson 7 Conclusion and Closing Thoughts : Hey guys, welcome to the windup. I'm so glad that you stayed here till the end because I think that what I've figured out is that this is a class that's going to do follow up. I really want to spend a lot of time doing some layering and filling in all of the spaces that I think will really enhance the lettering. And the lettering is something that I want to explain fully. So I'm gonna do that in a follow-up class. I think that's the easiest. And in that class then I'll be able to spend a lot more time explaining some of the intricacies of adding, shading and that sort of thing. So I'm going to practice for a couple of days before we dig right into it. So I really hope to see you in that follow-up class. Thanks again for hanging out with me today. And if you're interested in checking out any of my stores, you can find me on Google.com. And in Canada here at art or where I also have a shop on societies six. And you can find me on sites like Wayfair.com and I Canvas as well. So I guess that's it for today's class. I will see you next time in the follow up fast. And thanks again for being here with me. Bye for now.