Apple Sidecar : Combine Traditional Art & iPad Illustration

1. Trailer: Hi, I'm Becky Flahertzy, I'm an illustrator and surface pattern designer. I sell my work through online stores such as Society6, Redbubble, and Spoonflower. I love to paint with traditional mediums such as watercolor and gouache but I also love combining these with digitally applied graphics. In this Skillshare class, I'm going to teach you how to use your iPad and Apple pencil to enhance painting techniques that you're already doing. I'm going to teach you how to use side to change your iPad into a pen display tablet that you can use to illustrate directly into Photoshop. Your class projects will be to create a simple painted illustration which we will bring into Photoshop and add some digitally applied linework. I'll teach you all my tips and tricks and shortcuts along the way, including how to remove the paper background, changing the colors, and even adding some cool metallic effects. This class is for anyone who loves painting and wants to add a few new tricks to their skillset. A very basic knowledge of Photoshop will be useful but don't worry if you're a beginner because I will be explaining everything as we go. I'll see you in class. 2. Class Project: [MUSIC] Hello. I hope you're as excited as I am to get started. Let's have a look at what we are going to be making for our class project. We're going to be painting a simple illustration like this one so that you can easily follow along and learn all the new workflows that I'll be teaching you. I'm keeping the project super simple so that you can just focus on the new techniques rather than worrying about having to create a masterpiece, although feel free to create a masterpiece if you want. You can use any paints that you already own and enjoy working with more on this later. You can, of course, paint in your own style, you don't have to copy this same illustration style that I'm doing here. Some other ideas you could work on are painting individual elements for surface pattern designs such as these ones here. Believe it or not, I turn these simple shapes into nail polish bottles for this fabric print here. Using that combination of paint and then digital line work on top is something I quite often use in my surface pattern design projects. Please feel free to paint whatever you would like for the class project and give it your own unique twist, or if you want to just follow along with what I'm doing and paint those three cactus shapes, that is absolutely fine. I'd love you to take lots of photos and screenshots along the way of your process and add them to the project gallery. I'll let you know at the end of each video what to add to your project gallery as we go along. Don't forget to stop by and check out other students' work and share the love by leaving some feedback and helpful comments. I can't wait to get started, so let's jump right in and take a closer look at what materials you're going to need. 3. Materials: [MUSIC] Let's talk materials. You've probably guessed that the first thing you're going to need is an iPad. You will also need an Apple pencil and you will need a MacBook or iMac. The reason for this is I'm going to be teaching you how to use Apple's Sidecar feature, which allows you to use your iPad as a second screen for your MacBook. You can check whether your iPad is compatible in the list below. You're also going to need a drawing app installed on your iPad. I'll be using Procreate. But if you don't have Procreate and prefer it to another app, that's absolutely fine. You're also going to need a scanner and Adobe Photoshop. If you don't currently have Photoshop, don't worry, you can get a free trial for this and I will post the link for that in the class resources. You're also going to need some paints to create some artwork with. Since this is a class geared more towards teaching you how to use your iPad alongside painting techniques that you're already doing. I'm not going to go into a whole bunch of detail about the different products that I use. However, if you're new to this, I will walk you through the basic supplies that I'll be using to create the class project. I'm using watercolor here, but you can really just use whatever you've got. Gouache or even acrylic will work well. High-quality paints aren't super important if you're just starting out on a simple students, that is fine. I use a mix of student and artist grade paints and they all work well. You also don't need to worry about paints being light first if you're not planning to sell or display original pieces. Paintings that we hung on a wall will fade over time if the paint isn't light fast. But since we will be scanning these is not a consideration we have to make when choosing our paints. Again, I use a mix of student and artist brushes and to be honest for this illustration style, I actually find these cheaper student quality brushes are the best. You want a smallish pointed brush for doing the detailed work and medium, this is a number 6 round brush, for doing the larger areas of colors. To keep your brushes in good condition and to keep the points nice and sharp, always store your brushes with the points upwards. I'll be using A4 just because that's my preferred size to work on. But I'm guessing most of you will probably also have A4 scanners. However, if you have a larger scanner and you would prefer to work on larger paper, that's absolutely fine. You want to look for something that is around 250 grams per meter squared to 300 grams per meter squared. That will make sure that it's thick enough to hold up to the watercolor. This paper holds the water well and it has a slight texture, but not too much. If you use something with too much texture, it can make it a lot harder to remove the paper background or Photoshop, which we'll be doing later. You also want a rubber and a pencil. You may also want a black fine liner pen for adding the details, but this step is optional as I'll explain later. Once you've gathered all your materials, join me in the next lesson and we'll talk about planning out your design. 4. Gathering Inspiration: [MUSIC] Let's take a quick look at places you can go to for inspiration to paint for your class project. I am going to do some cacti in pots because I really love heist plants. I think these shapes will lend themselves well to the style of illustration that we're going to be doing. I'm just searching on Pinterest here. You can also look at photos of things you've taken. You can take photos of things on your own eyes. I'm just going to quickly look through Pinterest or I really like these tall cactus shapes here. I think that these little star shapes will be good for drawing in the ink afterwards. I also really like bunny hair cactuses, these type of ones here. I think I'm going to put one of those in and these patterns that are on the pots will be good for adding in detail later as well. There's another one of those tall shapes which has the pink flowers on it. I think I'm going to try and add that into my design. I think I also like these aloevera-type plants. You'll notice that lots of these things are laid out in sets of three, like these here and these ones here. Objects often look good in threes or odd numbers. I think I'm going to do three plants side-by-side like that. Whatever it is that you decide, you're going to draw half a quick search and lookup some reference images for those. You can either follow along with me and draw the same thing that I'm drawing, or you can choose completely different images, whether it's different plants or something completely different altogether. Once you've decided what it is that you're going to be painting, the next thing to do is to pick a color palette. My favorite way to do this is to have different swatches of all the paints that I have so that I can choose which colors look good together. I prefer to have them on separate cards rather than just on swatches in the lid because it gives me the opportunity to move things around. [NOISE] The way I make my swatches is to get some small pieces of cut-up watercolor paper. Then I just paint a little bit of each color onto the paper. You'll then need to make a note of what colors on each square so you don't forget, you can either write the name of the color. This one is yellow ocher. Or you could do what I've done and make a note of a number for each color, and then assign that number to the color. I also have them swatched on the top here so I can see what they look like with different amounts of water in them. These are the colors that I've chosen for my final illustration. Once you've chosen yours and you have your reference images, post a picture of them in the Project Gallery and join me in the next video where we'll start sketching. 5. Sketching: When I realized that I could use my iPad for sketching out work, that wasn't necessarily going to be digital work finished on the iPad, but it was going to be painted. When I realized I could still do the sketching on my iPad I do not have to go through sheets and sheets and sheets of paper for revisions. That was a game-changer for me, felt so good to not have to throw away so many wastage sheets of paper. Always remember that you can still start sketching on your iPad, but then take that design onto paper. You can use any drawing app that you like. You might prefer Adobe Fresco or Adobe Photoshop. I prefer drawing in Procreate, so that's the one I'm going to use today. I'm just going to open an A4 document. If I was doing a full digital design, I will make sure this was a lot bigger canvas and for 300 pixels per inch resolution. But because this is only a sketch layer, we don't have to worry about that. I think because I'm doing three pots, I think I want to turn my canvas around this way. Make sure I've got a pencil basic HB, and I'm going to start off in a light color. Yeah, that's perfect. I think I'm going to start in the middle with the bunny ear cactus. Just going to sketch out a simple pot. I think I want to take it up there like that. Actually, that might be a bit too big. Let me move this down a bit. To move something in Procreate, we need to do is hit this arrow here. Then you can drag your object around to where you would like it to be, and then just hit the arrow again to set the transformation. You want to use the whole of the area for this design. It's nice and big when we scan it. I'm just going to draw some simple shapes. Maybe another one there. Then the pot on this side, I think I want that to be a bit bigger for some balance. Let's draw that one in. Remember these shapes are going to be just loose watercolors, so we don't have to be precise with this. You don't need to worry about perspective is meant to be slightly stylized and a bit higgledy-piggledy looking. I think I'm going to make this one more like an aloe Vera plant with some spikes coming up here. I love this style because it really don't have to the precise with it. This style draws on that gestural motif style. I think I'm going to do this one as one of those taller cacti like that. The ones that had the little stars on it which will be adding on later. I put a flower on them. I know at this stage it does look like something that a five-year-old could draw, but that's okay. It's going to look great when we've got the watercolor and ink layers. Always remember to step back and have a look. I'm thinking this is just not quite working. So just going to rub that night. I think I'm going to make, I want to big leaves and let's do on there and one there and then maybe a smaller one there. That's really all there is to it for this stage. These are all going to be filled in with blocks of color. Then we'll put our linework over the top. Another way, you can use your iPad to streamline the drawing process, even though we're not going to be completing the final piece on here, is to bring your color swatches into procreate so you can play around and see which colors look best. If you come up here to the palate and you select new pallet, you'll see they have the option to create new from camera. You can lay these swatches out, take a photo of them, and it will create a palette for you. You all need to do is position your iPad camera above the palette and just take a photo. This will then capture your new palette. So you can set it as default. You can then create a new layer, drag it underneath your sketch layer. We're going to choose an inking brush. I think we'll just use the inker brush. Then you can pick your colors. I'm going to go for the dark red first, which I think would be good for one of the plant pots. Let's go for this one here. You can just lay your colors down for light to one here. Then maybe like one over here. Dark color there, medium one in the middle. This one I have here. Then a pop of pink up here for this flower. This will give you the opportunity to visualize how your colors work. Do they work for this illustration? Does it give it balance? I think, yeah, that looks good. Now, we're going to trace our design on our paper. I've got my iPad here in front of me. It's really just the case of copying the proportions onto here. [MUSIC] Want to work quite lightly with the pencil will not go too dark. Now make it easier to Rabbi. Normally, when I'm doing this kind of thing, I use a light pad, so I'll print the design off from my iPad and then use a light pad underneath to trace through. But I wanted to keep this as accessible as possible. This is quite a simple design. This is a quite simple and two copies, I want to show you that you didn't need a light pad to do this. When you finish your sketch out a photo of your iPad color layout to the project gallery and then join me in the next lesson, where we'll start adding some paint to our design. 6. Painting: [MUSIC] I'm going to start off with the cactus shapes. I think some of these need thicker brush for this. Go ahead with a nice green color. Now, you want to paint inside the lines here. Make sure to leave some white space there as well. You can drop some water in. The reason we want to paint inside the lines is because if we go over the lines, then we won't be able to rub that pencil out once we've painted over it, but if we keep it inside the lines, we can easily remove that afterwards. Just decently drop your color in around. You notice I'm not going for perfectly smooth edges here. I want this to look quite jaggedy and loose. Drop some more water in there. One thing I do want to do is keep these edges hard. You can see here where I've got a soft edge of water, that's fine inside the shape, but I want to keep these outside edges quite hard. The reason for that is that when we come to scan it, it will be a lot easier for the Photoshop software to recognize the difference between the paper and our paint if there's clear edges there. Again, put some more paint in there. I like all these little pieces where there's plenty of paper showing through. I think it adds a lot of texture and dynamic to it. This one. A trick you can do to add a texture to this otherwise flat color, is to drop water into it, and you'll see that it spreads out and you get these lovely textures in it. I'm just going to put some water in there and drop more concentrated areas of paint back into the design. I'm going to put some down here, I think. I think that's done for them. Move on to this one now, which I'm going to do a lighter green. I'm going to go for sap green. I think I might actually keep some of those stripes that were in the reference image. This is quite a rich design. I think I might leave those white areas in there. [MUSIC] Again, drop some of the darker color at the bottom, and then I'm going to dot some water in up here. These will leave some really interesting textures when they dry. I think I'm also going to do this spiky part in this color just because I think it will add some balance to have the same thing here as we have over here. Don't be afraid to move your paper around as you need to. You don't have to keep it one way up. Just move around as you find easier. I think I'm going to drop some more color in the bottom here. That's it for the greens. I think now I'm just going to refer back to my sketch for the colorings. I'm going to use the darker color over here. I'm going to use this one. I'm going to switch to using my clean water for these brown shades so it doesn't look too muddy with the green mixed in with it. I'm going to use the side of my brush to have a nice jagged effect. [MUSIC] You can see why this is such a great painting technique for beginners because we really are just laying down shapes here. If you haven't let the paint dry, which I haven't, you want to be really careful not to let these two colors touch because the color will bleed, so you've got bits of green a bit running into this and bits of orange running into that. When we come to change the colors around in Photoshop, it will make it a lot harder to do if you've got parts of one color in another, so just bear in mind as you're working. If you're not confident in not letting them touch, then I would let these dry first, but otherwise, just be careful to not let them bleed. [MUSIC] The last of all, I'm going to do this flower up here. A bit more water. There we go. That's pretty much it for the painting. What you need to do is let that dry and then scan it in the next step. When your painting is dry, take a photo of your design, and add it to your class project. 7. Scanning: [MUSIC] Let's get started scanning our artwork into the computer. You're going to need to open up your scanning software. As it starts to load, you'll hear the scanner doing an initial overview scan. You have a blank screen here. We're going to open up the scanner and put the out working. Once you've put your artwork into the scanner overview, it will do a really quick initial scan just so you can get the layout and test everything. The first thing you'll notice is that this is in black and white. We want to change it to a color scan. Next, we're going to set the resolution. You will have different settings here depending on how high your scanner can go. The minimum you want to use is 300 DPI. By scanning at 300 DPI, you will be scanning at the right scale for print. If you scan it at a higher DPI, you will be able to print your final image much larger without losing any image quality or seeing any pixelation. I'm going to go ahead and scan at 1,200 which we want to use a custom size here. If you don't see this image bounding box, pop up when you click Use custom size, you can just click on this image and drag out a box like that. Just going to delete that one. Let's drag this in to just around the edges of our artwork. The reason we want to keep it quite tight around it is it will help to keep our file size down. When it rescans this it will only be scanning this area inside the box. If we were to leave the whole area checked, we'd be saving data for all of this area around here and taking up file size, which really isn't needed. We want to keep the rotation angle of zero and we don't want to auto-select it because we have already told it where to scan with this. Before we go any further down, I'm just going to show you a quick trick to get rid of the shadowing here. I don't know if you can see the slightly darker areas here and here where the paper is a little bit buckled. If you take your paperback out of the scanner and put some other sheets of paper behind it, [NOISE] that will increase the thickness slightly and you'll be able to press down on top of the scarlet and effectively iron those crinkles. I'm just going to press down and hit Re-scan. Another overview scan. You'll see these dark areas have gone and the image is mostly flattened, which need to readjust our edges around them. This section here is referring to the location filename of all type of our scan. I like to keep my projects organized right from the beginning and set a proper folder and keep everything all in one place. I'm going to choose Other. I'm going to make a new folder called cactus illustration. I'm going to choose that one. File name, I'm going to give it cactus illustration as well. I'm not wondering which scanner is, and for the format, we're going to choose PNG because that will give us a better quality image than a JPEG. Then we come down to image correction. You'll notice that the colors on here a pretty flat and dark compared to the nice fiber and paints we were working with. We'll be adjusting the colors in Photoshop. We can get a head start on that here by adjusting the colors a little bit before we scan. I normally like to drop the brightness down a bit. I think the tint is probably okay where it doesn't look too green or too purple. Just right in the middle where that was. Temperature probably is okay as well. I'll take it a little bit that way. For the saturation and that tells us how bright the colors are. We can take it all the way down to black and white, or all the way up to crazy levels. Think I'm going to increase a little bit too about there that looks brighter but not overblown bright. Then we're going to rescan, pressing down on the top of the scanner again. [NOISE] Depending on what resolution you scanned in, you'll find that this will take a lot longer than the initial overview scan that we did. I'm going to go ahead and speed this up a bit for you. Then you'll see your scan window pop up. You can locate that in your finder by clicking on the little magnifying glass. There we go. You see it's in our folder. File size is a 150.8 megabytes. If you've scanned lower DPI heels will be a smaller file size than that. One thing I am going to do before we close this window is to just rotate it because it will save doing it later. [NOISE] Then that's how scan saved in our file, ready to open in Photoshop. 8. Removing the Paper Part 1: [MUSIC] Here we are in Photoshop. The first thing I'm going to do is rename this bottom layer original. I'm going to make a copy of it by hitting "Command J". Then I can lock this original layer and make sure that I don't make any changes to this that I can't go back from. If we zoom in here, you can see that there's this texture showing, which is the paper. It will be a lot easier to remove this paper background if we can smooth out the appearance of our texture. We're going to do that by putting an adjustment layer onto this one. Go to your adjustments panel. If you don't have your adjustments panel showing, you can get to that by going to Window and choosing adjustments here. Then we're going to go and click on levels, and I'm going to select this eyedropper tool, the white one at the bottom. By clicking on this white area of the paper, we're telling Photoshop, this is white for our image. If we click on this slightly gray area, it will adjust the rest of the image for that to be white. There you go. You can see that smooth side, all of this, and that will make it a lot easier for us to select the white area and remove it. But you can also see that it's thrown these colors off here. If I hide this one, you can see that it's made that go a strange bright yellow color. We don't actually want to apply it to this layer. I'm going to make a copy of this one, and then I'm going to shift click onto levels, and I'm going to right-click and choose "Merge Layers". We have this one where it's applied, but then we still have this working copy to go back to and make the selection on. Now, another thing I like to do at this point is to add a layer underneath this one I'm working on, and hit this little circle icon here and add a solid color layer of black underneath. You'll see where I'm going to do that later on. Let's go back to this layer up here with a level adjustment on it. Let's show this one again. I've got my magic wand tool selected here. You can get back by clicking up here or you can use the keyboard shortcut, which is W. When you use your magic one tool for this work settings that I like to have our point sample a tolerance of between 15-30. You can experiment to see which works best for you. You want to have contiguous selected. I contiguous means that when we select white, it will select all other areas of white that are also touching this area. For example, if I de-select it and I click this area here, it will select all of these areas. If I have it selected, and I click this one, it will only select this area of white. Now, you may be thinking, wouldn't it be easier to select all the white at the same time? But the problem is, it will select all of these areas, but it will also select tiny specks of white in this area as well, and it's much easier to go through one-by-one selecting the areas we do want than to try and de-select all these other areas that we don't want. I'm going to hit "Command D" to get rid of that selection, Command 0 to go back to full screen view , and select "Contiguous". Let's click on this area up here, see what we get. I think that's a pretty good first selection. Now, what we need to do is add these other areas to our selection, and we do that holding down Shift on the keyboard with our magic wand tool and you'll see a little plus sign come up. Then if we shift click on these other areas, it will add them to the selection. You don't need to hold down shift the whole time. You can let go and it will still keep your selection in-between clicks, but if you've let go and you forget to hold down shift, and you click on an area, that will then only select the new area that you selected. You can hit "Command Z", which is undo to go back and then hold down shift on the area and then you can carry on working. Then it really is a case of going through bit by bit zooming in. You can use the command plus and command minus to zoom in and I quickly, and then selecting all these areas that we want to get rid of. Where we have some areas like this that are quite light, but they're still part of the drawing, I'm not going to worry too much about these for now because we're going to go in with our Apple pencil in a second and edit these areas by hand. [MUSIC] I think that's nearly all of it. I'm going to show you now why I put this color fill layer in. If you think you've got everything and you hit the "Delete" key, that will take out all of the white you've selected and you can quickly see, like I come here if there's any bits that you've missed. Then hit "Command Z", and then you can go and add those to your selection as well. I think that should be everything that I wanted to get rid of. Let's hit "Command 0" to go back to our main screen. What I'm going to do next is to modify the selection and smooth things out. If you can see when we zoom in here where it's selected, there's still some bits of white showing around the edge, which if I delete that, you get this white halo effect around the edge. What we want to do is to take our selection in a little bit. You can do that by going to select, modify, expand, and I normally expand my selection by two pixels. You can see that's taken it in, and we have a much tidier edge. Then I hit "Command Z" to undo that. Then one more thing I like to do is to go to select, modify, and put a feathering of half a pixel on the edge. This will create a slightly softer edge, which I think looks nice when you're working with paints and watercolor. Again, hit "Command Z" to remove deleting that. Great. Now, we could hit "Delete" and get rid of that white paper, but then the problem is that's gone forever. When we come to these parts here, where we want to add some of it back in, we won't be able to do that because we've deleted it and it's gone. What I'm going to do is use a layer mask. Now, a layer mask will only show the areas that we have selected. At the moment, we have the white selected, so if I hit this, it will get rid of all the other parts. What we want to do is invert our selection, so we press "Command Shift", I switched to having everything except the white selected. Now, when we create a layer mask, it only has our painted areas showing. Now, I've created this on the levels adjustment layer we were working on, which had the blown out colors on it. What I want to do is hide this layer. I'll drag this one underneath, and we'll go back down to this original layer here. We've still got this selection here. If we hit the layer mask on this one, that will apply it to this layer here. Now, if we zoom in, I'm holding down the Z key here and dragging with the mouse to zoom into a specific area. You can see down here we've got these ragged areas which I want to go in with a brush and clean up by hand. At this point, we're going to switch to using our iPad to work on. 9. Setting up Sidecar: [MUSIC] Let's get started using Apple Sidecar. To use it you'll need to have your tablet on the same Wi-Fi network or connected via a USB cable. You go up to the control center and click on the Display Icon and then you'll get the option to connect to your iPad. Then you'll see that what is on your screen is also mirrored on your iPad. You will need to resize the windows a little. I'm just going to on my Mac, drag Photoshop so it fills this window. There we go. Once you've got it so you can see everything on the screen it should look a little bit like this. Let's have a look at the tools on the interface. You've got these keys here which show and hide the menu bar and the dock. I prefer to still use the keys on my keyboard as I'm working but if you want to use the Command Option, Control, or Shift key on the keyboard you can use the shortcut keys here for those. This one is useful as well, it's the shortcut for the undo button but more often than not I still use Command Z on the keyboard for that one. Then this one brings up the keyboard on the screen and this icon will disconnect your iPad from the sidecar feature. Let's go over some of the basics of using the brush tool in Photoshop with Apple Sidecar. Hit B on your keyboard to bring up the brush tool and let's zoom in a bit here. You can literally just draw on the screen in Photoshop using your iPad so you have access to all the same tools and everything but you can draw with your Apple pencil. We go to our brush tools here, I'm going to use this hard brush and you'll see that I have a slight jagged edge on there. That is because if we go to Shape Dynamics I have a size jitter set which means that you get a more natural pen effect than if we change it to off and change the size jitter to naught percent, you get a smooth line. I like to have it set to about 20 percent and change this to pen pressure and then we can use the pen to press harder or softer in order to change how much jitter we get. When you're using this to add line work it just looks a lot more natural to have the variants and pressure. If you don't see pen pressure as an option here you can fix this by going to Wacom's website and downloading their latest drivers and installing them on your computer. This should then give you the option to choose pen pressure. 10. Removing the Paper Part 2: [MUSIC] Let's address this area here. First of all, I'm going to delete this leveled layer because we don't need that one anymore. Because this is a layer mask, we can add and delete bits of the mask as we need to hide or show bits of the illustration underneath. You need to make sure that you're clicking onto the layer mask and have that selected. Then, you can go to your brush tool by hitting "B". You'll see that depending on what color you have selected here, either black or white, you can draw on to your layer mask, you can erase with black, and if you press "X", it will switch to the white color, and you can add that selection back in by painting in with the white color. For these small areas here where it's quite light but not quite white, what I normally do is just draw the mask back in until I get to the edge. There we go. We can see the edge now. Then, I'll make the brush a lot smaller using the Open brackets key, that's about the right size. Then, I'll go back to my black by using X to change the color. Then, you can just draw the line that you want, and with your pencil like that. This is so much easier than trying to do it using the mouse. You can use a graphics tablet to do this, of course, but if you don't have a graphics tablet and you have an iPad, there's no need to go out and buy one. Then, to get rid of this area here, we can hit "G" to switch to our paint bucket tool, and we can just click on the area there. You see that I switch between using my pen on the screen and using the mouse, sometimes I'm looking at the screen and using my pen, and then I'll have my head up and be looking at the screen and using my mouse. I just find that some jobs are easier with the pen on here and some jobs are easier with my mouse on the screen, and that's why I like us to being able to switch between the two. Now, we're just going to go around this area here. I've got the brush tool selected again, and we're just going to clean up this little edge here. These small bits here, which we haven't got, we don't have to worry about those because I'm going to show you a shortcut for cleaning up all of these little bits that we've missed in just a second. Just go around all the areas that you feel need cleaning up a bit. As long as they're separated from the main drawing, that will be fine. I think I'm just going to take all of this off, so I'm just going to trace around this line here. If you want to make your brush bigger and smaller, you can use these Open brackets and Close bracket tools to adjust the size of your brush. Then, here's just a case of panning around our drawing, and using the brush tool to add or take away from the selection, as we want to. For example, the part here, I think I'm going to zoom in on that. Hold on Z, and click and drag, and I'm going to clean this part up. We zoom it again, see what else we can find. I think I might clean this part here up. When I'm panning around, I like to use the mouse rather than fingers on the iPad screen. [MUSIC] Let's see what this looks like with the white background. Let's change this part to white by double-clicking. I'm going to zoom out. Here, I think I am going to remove that. Let's change this back to black. [MUSIC] Go back to our layer mask, and remember to click on this one, not on the image itself. If you accidentally have this selected, you'll just be drawing pen lines on the layer, which is not what we want. You need to make sure you're always drawing on the mask. [MUSIC] I think that should be everything that we wanted to get. Now, I'm going to copy this layer by hitting "Command J". I'm just going to drag that on underneath as a backup. Then, we're going to right-click on our layer mask, and choose "Apply Layer Mask". From that, layer mask is now gone, and the changes are permanent. Now, I'm going to show you how I get rid of all these little extra bits, the small bits that we've trimmed off here, and these little areas up here where there is still small bits of pencil marks. I'm going to make another copy of this layer by hitting "Command J". I'm going to go down here to Fx, and I'm going to hit "Color Overlay". Then, you'll see that's applied a color to everything we have on this layer. Let's make it a bit of a brighter color so we can see easier against the black. There we go. At the moment, this is just an effect. We're going to apply it by right-clicking, and we're going to click "Rasterize Layer Style". We now have a layer that is just these light green pixels. As before, we're going to get our Wand tool, W on the keyboard, and we're going to go through and select all of the areas that we want to keep. We know these big areas are the ones we definitely want, so we're going to hold down Shift , and select all of these, and you'll see it's missing these areas that we've trimmed off, which is what we want. Just go through here, Shift clicking on everything. Then, again, we want to invert our selection, so "Command", "Shift", "I", and that now has everything except these green areas that we want selected. Let's hide this layer, go back to this one, and when we hit the "Delete" key on this one, I'll zoom in so you can see, it will then take away all those small areas that were left in there. Now, we have this layer with only the areas that we want, and we've removed the background. Let's make this area white. There you can see we have our nice illustration with the background removed. At this point, I'm going to save. I'm going to hit "Command", "S", and I'm going to call it Cactus Illustration, save it as a PSD, I'm going to hit "Save". Before we move on to the next step, I'm just going to do one last thing and re-size the canvas. I'm going to select my Crop tool, I'm going to choose an eight by 10 ratio for this, as that's a nice size to work with, with illustrations. We're just going to drag the corners, and I'll put it in the middle. I like that size. I think we might need to do a little bit of centering. This is the layer that we want to center, so I'm going to rename this one, illustration, just for keeping the file tidy, and I'm going to delete that adjustment layer. Now, if you go up here to your Move tool, which you can get up by hitting "V" on the keyboard, and these three little dots, and choose Canvas, you'll then be able to click on these and center the image. I think I might want to do a little bit of moving around here, so I'm going to use my Lasso tool, and drag around. Then, I'm going to hold down Control on the keyboard, which will bring up this little scissor icon. By holding Control and clicking, you can drag things around. I can move this one down a little bit, I think. I think that looks okay. Then, I'm just going to select the whole image again, and then re-center it. Then, at this point you can resave your image again. Then, in the next lesson, we'll start adding some line work. 11. Adding the Line Work: [MUSIC] Now, let's add some line work to our illustration. We're going to create a new layer and we're going to draw directly onto this layer some pen lines. I'm just going to make my brush a bit smaller. Let's see what that looks like. Yeah, I think that's a good size. Now, I'm going for really loose and gestural effect here. I'm not trying to match the lines. In fact, I want them slightly offset, so I'm going to try and not hit the lines too much. I'm going to start up here trying to vary the pressure as I go around. I'm going to go over a couple of times and zoom a bit. Then I'm going to go over this line. Sometimes it's actually quite hard to not hit the lines. Here we go. Over here we take this one. Forgetting the flower on the top. Actually, I'm going to undo that. Come up a bit higher with that one. There we go, to the flower. There we go. Some things I like to do, sometimes just to add a little bit of interest is to do a [NOISE] little dots here and there. Feel free to add these or not add them if you like [NOISE] them or not. Just think they give it a bit of interest, a bit of texture, and a bit of hand sketched for you. Then we can go in and add some details onto our cactus. Can I put some spikes on here. Then on this one, if you remember, this had the little star-shape spikes. [NOISE] I'm going to try and create those up along these ridges. [NOISE] Then this one might be just some simple lines up through the middle. Then I'm also going to add some detail to these pots because I liked that in the reference illustration that we were looking at. I'm just going to maybe do some wavy lines on this one. Then maybe some multiple lines on this guy. Then on this one, I think I might do some triangles. Maybe we'll not turn it up. I think I'm happy with that. As you can see, we've now got our illustration on this layer and our line work on this layer. By having the two separated and by having drawn this digitally, it just makes the cleanup so much easier than if we were having to clean up this because we've done it with real pen. Anytime I'm doing an illustration which has line work, nine times out of 10 I will do it this way rather than using real pen on the paper and then scanning it because it just saves so much time. I actually prefer this more bold line work style. Even though this image is only going to be used digitally, I do still like to finish off my illustration on the paper, add the line working with a pen so that I can post pictures of it on Instagram. I'm just going to go round and rub out the pencil lines and then add the details in with a fine liner. [MUSIC] After you've finished adding your line work with the iPad, add some ink to your paper sketch and then take a picture that you could post on social media. Don't forget to share your picture in your project gallery. 12. Fixing the Colours: [MUSIC] Now that we have the bones of our illustration in place, we have our cleaned up water color, we have our line work over the top. I'm going to get to work on adjusting these colors, brightening them up a bit, and then playing with some new color combinations. First of all, I think I'm going to hide my line work layer, and then we're going to use the same trick we used before for easy selection. We're going to duplicate this layer by hitting "Command J", we are going to add a color overlay to this layer, hit "Okay", I'm going to rasterize this layer style. Now, I'm going to drag this underneath our layer, so it's still there underneath, and we're going to keep this layer selected, and then we're going to hit "W" for our one tool. What I want to do is to pull different parts of this onto different layers so I can easily select different elements of it to edit. I think I'm going to start with this. Now remember we're working on this layer underneath, which is all flat color, so when we select it, even though it's underneath, we get all of that blue selected. If we were to be on our illustration layer and select, we wouldn't get the whole thing selected, it's only selecting similar greens to the area that we're in. Let's go back to this layer with the blue on it, and just like we did before we're going to select and then hold down shift, and get those three green areas that we want. We're going to come to our illustration layer and we're going to press "Command X" to cut that, and then I'll press "Command Shift V" to paste that back in place, and I'm going to rename this layer Bunny Ears. Then we're going to go and do that with the rest of the elements of our illustration. We're back to this layer, hit "W" again, and we're going to select the pot, go back to this illustration layer, "Command X" to cut, "Command Shift V" to paste in place, and then we'll name this layer, Bunny Ears Pot. It's always a good idea to name your layers as you going, because even though these are quite big blocks of color and they're easy to see in these thumbnail previews, when you're working with much bigger documents or much smaller elements, it gets quite hard to see what you have on each layer. Let's go back down to this one, select the pot, go to our illustration layer, "Command X" to cut, "Command Shift V" to paste in place, and we'll call this Tall Pot. Go back down here to illustration layer, select that, "Command X" to cut, "Command Shift V" to paste in place, and we'll call them Tall Cactus, and then we'll select the flower. Reason I'm not selecting the flower and the cactus and all the pot together is because, each one of those is a different color, so we want each color on a different layer. Let's go back to the illustration "Command X" to cut, "Command Shift V" to paste in place, and we'll call this Tall Flower. Back to our overlay layer, select, back to the illustration, "Command X" to cut, "Command Shift V" to paste in place and I'll call this Aloe Pot, and then let's do "Command X", "Command Shift V' to paste in place, and then we can get rid of this one, and we will call that, Aloe. There we go. We now have each of those elements on a separate layer. We can get rid of that overlay layer. Let's start by working on the color for this middle cactus here. I'm going to select our layer, I'm going to come up to our adjustments. Remember if you don't have adjustments showing, you can go to Window and select adjustments there, and we're going to hit the "Hue Saturation" layer. Now this will add an adjustment layer to our layers panel down here. If we slide the hue slider around, you can see it adjusts all the colors for the whole document, and that's because this is applied to everything underneath here. If we only want it to work on the layer beneath, we can hit this little icon here and it will clip it to the layer underneath, and then we can just change the colors for that cactus there. Another way of doing that is, if you hold down the option key and click on that layer, it will clip it towards underneath. Let's have a little play with the hue and saturation for this layer, I think I'm just going to reset that there. I don't think I want to change the color too much. You can click into the number box here and use the arrow keys to move up and down a little bit, and if you hold down "Shift", it will move up and down in increments of 10. Let's get back to zero. I'm happy with the color that we've got there, so I don't think I want to change the hue at all, but I think I do want to put the saturation up. Let's try 20. I don't normally adjust the lightness because it can make it look a bit blue now, then we can come down to our bunny ears pot, hue and saturation layer and clip it to the layer below. Let's bring this saturation up a little bit. Let's leave it on 20. I don't think I want to change the hue on this much. We'll leave that where it is too, and then we'll go to our tall pot, and I do want to adjust the hue of it on this one because, it just bring the saturation up. I want to make it a bit more yellow, so it's more similar to the yellow ocher. You can see this as changing the colors for things over here, and that's because I did not clip it to the layer. There we go. That's fixed and that's only changing this one. Let's bring that back down. Let's keep that on 10. I think that's good. Let's again create another layer for this one. Let's bring the saturation up. It's looks good. We could just have done a hue and saturation layer for the whole document and just brought the saturation up for everything, but by doing each layer individually, it gives you the option to adjust each color as it's needed. Let's bring up the saturation for this flower, and I want to make it a bit more pink, so let's bring it down this way slightly maybe to that. Then lastly, we've got an aloe vera, let's add hue and saturation adjustment to this one, and we'll clip it. Let's bring the saturation up. There we go. That looks nicer. Again, I don't think I want to change the hue much here. We'll keep that as it is on zero, and then let's do the aloe. Let's bring the saturation up on that. Too much. I think maybe make it a bit more green, so it matches more in with this one. Yeah, I'm liking that. I think that's pretty good. One thing I'm noticing is that, this is now looking a little too saturated in comparison to everything else, so let's go back up there and maybe bring that down to 10. Yeah, I think that's better, and that's why I prefer to do each element on its own rather than the whole document because you'll find that some things need more work than others. 13. Recolouring: [MUSIC] Now that we've got our color corrected copy, I'm going to play around with the colors and come up with some new color combinations. Now I don't want to lose all of these adjustments that I've made already, so I'm going to hide it and then create a new layer above it. I might just rename this one original. [NOISE] There we go. Then I think I'm going to make these blue maybe. Then we'll go for blue cacti and red pots. When I'm recoloring, I like to use the colorize tool rather than dragging the hue slider around. You can see when we get to some parts, the colors just get blown out ever so slightly. But if we use the colorize, you'll need lead bring up the saturation, it gives them more even recoloring effect. [NOISE] Let's go for saturation of about 70. I think maybe a nice teal color. I'm liking that one. Again, let's hide this one and add a new layer of saturation, and we'll go to colorize. Bring the saturation up. I think I'm going to go for a reddish pop on this one. [NOISE] I'm liking that. Let's do the other cacti. [NOISE] Let's go to this one, colorize, bring the saturation up. Let's go for this teal color [NOISE] and then go down here. [NOISE] Hide that layer. [NOISE] Add another one. [NOISE] Clip that one. [NOISE] Let's colorize. [NOISE] Bring the saturation up first. [NOISE] Let's go for a nice teal color for this one as well. [NOISE] Now you'll see this area here is quite dark. We can fix that by adding levels of adjustment layer. I'm clipping that down and this middle slider here. I'm just going to slide it to the left slightly and that will even add that darkness. Now let's do these other pots. [NOISE] That one [NOISE] I wanted to colorize. Bring the saturation up. [NOISE] I think I might adjust the levels on this one slightly too. [NOISE] Here we go. [NOISE] Maybe bring the saturation back up. Then let's do this one over here. [NOISE] Make sure to clip it to the layer. [NOISE] I'm liking that. Now this pink flower here, if I was changing the color to something quite different, then I would use the colorize, but because I'm only going to adjust it ever so slightly from what it was in the first place, I'm happy with just using the hue slider for that one. I think this might need a bit more saturation. Let's just go to that one again. [NOISE] Bunny ears pop and this is where you'd be glad that you've named each layer for what it is. [NOISE] I'm liking that. Let's have a look at some other things we can do by having a line work on a separate layer. The first thing we can do is to change the color. Just as we added a color overlay earlier, we can also add that to our line work. Let's go down to our layer effects down here and add a color overlay. You can see it's added that light green color that we have before to all of this line work in that layer. You can choose any color you like. Go back to black, or if we wanted to go for a nice dark blue color, something we can easily do. [NOISE] That's something we can easily do by having all our line work on a separate layer. Another thing we can do is to add a metallic texture to this line work. With the class resources, I've included a swatch file for a seamless copper texture. To download that, you'll need to go to the Skillshare website, not the app, and go to the class resources and download the materials there. Then you can open that file [NOISE] and you'll see this copper swatch tile. You will need a seamless tile to do this, which is why I've included this one for you to practice with. We're going to go to Window and open our Patterns Window. Let's drag that up there. Now, if we hit the Plus icon here and hit Okay, it will then add this as a pattern. If we make another layer here and apply this to the layer, double-click, and if we change the scale here to 50 percent, you'll see that no matter how small we make it, you'll see that it tiles it seamlessly and so we can use this to fill larger areas. Let's cancel out. Just delete that layer. Now if we go back into our cactus illustration, let's just clear this layer style. [NOISE] If we click on the copper texture up here, while we have this layer selected, it will apply this texture to all of that layer. You can see if we zoom in, we have this nice copper texture applied to it. [NOISE] I'm going to change the scale to 50 percent because I think the scale of this is a little too big and it looks a little pixelated. But I think the scale of 50 percent matches better with the rest of the drawing here. That's another effect you can get by adding your line work on a separate layer. [NOISE] 14. Saving & Exporting: [MUSIC] Now we have our finished work. We want to share it with the world. I'm going to show you two ways to do that. The first, I'm going to show you how to save it as a high res image which you could use for either printing or uploading to a print on demand site. We are going to go to Save As by hitting Command Shift S. We want to save it as a PNG file. We're going to name it cactus illustration print. We're going to hit ''Save'', and click ''Okay'' for large file size, that's fine. This will save a high resolution image which you can use to upload to sites like Society6 or Redbubble and sell it as a print. If you wanted to put this on a T-shirt then you need to save it as a transparent PNG. We're going to take out this color fill and then we will also need to hide what's behind it. That move you can see this grid area behind here that's showing that it's transparent. We can again, now we've got the color fill taken out. We can hit Command Shift S to save again. We can put transparent in the title and we can save it as a PNG. Hit ''Save'' and you could then upload this to a print on-demand site to go on a T-shirt and you would only get these cactus printed out. You wouldn't get the big white box behind it. As you can see, this is taking quite a while to save because it is a very large document size. When we're sharing on social media we don't necessarily need or want to have high res images. When you share your work on social media you mostly want to stick to saving it at 72 pixels per inch which is fine for viewing on screens. The risk with sharing high resolution artwork is that somebody else can download it and upload it themselves. By keeping the resolution at 72 pixels per inch it will ensure faster loading times and also protect your artwork from being stolen, downloaded, and then used by somebody else. To share this on Instagram it would be better if we have this on a square background. Let's go to our crop tool and we will change the ratio to square. Now, we're going to need to drag this out a bit. Hit ''Enter''. We want to center this again. Let's select our top layer and then hold down Shift and select our bottom layer and that will have selected everything there. Then we're going to hit this file icon here to group it. Then we can select the Move tool. Go back here and make sure Canvas is selected and we can use these tools to center it again. When I'm sharing my work on social media I always like to put my name on it. Let's hit T for the text tool over here. We'll click down here in the corner and I'm just going to type Bekki Flaherty. Then I'll move tool and we'll just drag it over a bit. Let's double click on the text to select it and then I think we'll make it. Actually let's use the eyedropper tool and pull this color out of there. Then there we go. That's how to add your text. Then we're going to go up to file export and we're going to go to save for web. You'll get this box come up. We're going to go down to the image size down here. You can see this has massive, this is files and pixels. Yours will be bigger or smaller depending on what resolution you're scanned in. But I'm just going to change it to 1080 by 1080 which is the size recommended for Instagram. We're just going to hit ''Save'' and then that will save a 1080 pixel square of your drawing. We're going to go to cactus illustration. Let's click on here to get the filename copied and then we'll put Instagram. Then if we go to our files you'll see the file size for this one is only 209 kilobytes and the file size for our print is 77 megabytes. Yeah, much better to be working with these small file sizes for social media. Save a low resolution image of your own work and add it to your project gallery. 15. Final Thoughts: [MUSIC] Thank you so much for watching. I hope you find this class useful for getting yourself set up with Apple Sidecar. I've enjoyed following along with a fun class project. It's such a great way to use your iPad alongside your favorite painting techniques that you're already doing. I hope you'll come up with more new ways to use your pen display tablet you didn't even know you had. If you do a lot with some new workflows, why not share them with us in the discussion tab. If you find this class useful, please take a moment to rate it and give it a thumbs up as this really helps other students to find it. Don't forget to post your finished work in your Project Gallery and if you'd like any feedback or have any questions, I'm available via the Discussions tab. Please follow me on Skillshare to be notified when I publish new classes. In the meantime, if you would like to connect on Instagram, my handle is @bekkiflaherty. If you post any work, please use the #bekkiflahertyskillshare. Thank you and I will see you soon.