Transcripts
1. Let's Go!: Hello! My name is Cat Coquillette. And today, you're going
to learn how to draw a fun and funky mushroom and floral illustration on your iPad using the
drawing app, Procreate. Why blooms and shrooms? Because these are two of the most popular motifs
in surface design right now. I sell my designs through
brands like Target, Urban Outfitters, ModCloth,
Anthropologie, and more. So I always have my
eye on what's selling best because that's how I
make a living as an artist. This class is short and sweet. It's all about the process
of creating a cool, on-trend illustration
while learning the fundamentals of Procreate. This is a beginner
friendly class, so even if you've never
used Procreate before, you're gonna be able
to follow along just fine and create an
awesome illustration. After all, what better way
to learn them by doing? And if you're already
a Procreate pro, you're still going to get
my best tips and tricks for creating professional
level illustrations. I'm pretty much an open book, so you're gonna be
scoring insider tips and resources that I use when
I design in Procreate. The idea here is that
we're going back to basics with a few fresh ideas. And just like many of my other classes
here on Skillshare, I am packing this one with
a ton of free stuff. You'll get free Procreate
brushes from True Grit Texture Supply and
a collection of on-trend color palettes
that I created myself. And I'm also giving you a watercolor paper
texture that I prepped specifically
for this class, so it'll fit perfectly
into your canvas. Don't worry, I will be
showing you exactly how to use all of these freebies
in the class today. One of the things that
I hear most often from my students is, "Where
do I even start?" That feeling of looking
at a blank piece of paper can feel
really daunting. In this case, it's
a blank screen, but you get the idea. So to kick this class off, I'll walk you through
my exact process for choosing a subject matter. My goal isn't just to create
a groovy illustration, but it's to create
something that will sell well. You're going to learn how to key into what's trending, as well as learn how to infuse
your own artistic voice, so whatever you create
is uniquely yours. Another thing that I hear
from some of my students is that they're not super confident in their
drawing skills. So even the idea of drawing in Procreate can seem daunting. I have a little trick for you. You can actually use reference
photos to help you out. I do this all the time
when I'm starting a drawing from scratch.
In this class, you're going to learn my
exact process for this. And trust me, it
is super simple. By the end of this class, you're going to have a
fabulous final illustration, as well as some newly
acquired Procreate skills. The vibe of this class
is fun and casual. So whether you're a
newbie to Procreate and you just want to
explore your creativity, or you're interested in illustrating on a
professional level, you're gonna get some deep
value bombs out of this class. If you're interested in
receiving some more freebies, or you want to know when my next Skillshare class launches, you will be the first to know if you follow
me on Skillshare. I sent out a lot of
perks to my followers, including Skillshare
membership giveaways, creative drawing prompts,
and advice for artists. Just click that follow button up top and you'll be
the first to know. You can also follow
me on Instagram, @catcoq to get more updates and find out where in the world
I'm living at the moment. So without further ado, let's get started creating some retro-inspired
blooms and shrooms.
2. Supplies: [MUSIC] The supplies
that you'll need for today's class are
actually pretty simple, you'll need an iPad and
the drawing App Procreate, and I'm also using
my Apple pencil. If you don't have a stylus, you can always just
use your finger. Depending on your iPad, some features in Procreate might be different for
you than they are for me. Procreate will limit
your canvas size and the amount of layers you can use depending on your model of iPad. Today, I'm using a 12.9-inch third-generation iPad Pro
with one terabyte of storage. Because my iPad is
really powerful, Procreate lets me use the largest canvas size
that the app will allow. If you're using a non-Pro
or an older iPad, you might find that Procreate
actually limits you to a smaller canvas
size and fewer layers. But if you're just
illustrating for fun, no worries, a
smaller canvas size isn't really that big of a deal. But if you're
illustrating it with the intention of using your
artwork professionally, like maybe art licensing, or selling it online
through print on-demand sites like
Society6 or Redbubble, then you may want to consider an iPad upgrade in the future so that you
can have a larger canvas. Procreate is always updating their canvas sizes
and allotted layers, so I recommend doing a
little bit of research and finding out what iPad
best meets your needs. I prefer illustrating on the largest possible
canvas size that I can, because that means that I have more options for how
I use my artwork. You can always scale down your designs and print smaller, but you can't scale up without jeopardizing
the resolution. For me, I illustrate on
big canvases so that I have more options for what I
do with that artwork later. But again, if you're just
illustrating for fun, you don't really
need to worry about illustrating on a giant canvas, a small one will work just fine. Tech stuff covered, the other supplies that
you can use today are the free assets that I'm
providing for today's class. These freebies are totally
optional in this class, think of them like
an extra pack. You're welcome to download these freebie assets
to use today, or you can follow up and complete your class
project using your own favorite Procreate
brushes and color palettes. It's entirely up to you. Either way, you're
going to wind up with a gorgeous class project. I teamed up with True Grit Texture Supply to hook you guys up with some
free Procreate brushes. I use their brushes
all the time. I'm pretty sure I own every single brush pack
that they have available, and for today's class, I chose three brushes
that I absolutely love. One brush for outlining and
two fun texture brushes. One brush is for building up some subtle dimension
within your shapes, and the other is one
of my favorite dot splatter brushes for infusing some cool textures within
your illustrations. So big shout out to True Grit Texture Supply for their generosity and Pro Tip. If you want more free brushes, they have a section on their
website called free stuff, and you can sign up
to get even more. The other freebies today are
the ones that I created, I scanned in a piece of
watercolor paper and I resized it to fit your canvas
in Procreate perfectly. I love infusing paper textures
into my digital artwork because I feel like it gives it a really nice
hand-drawn quality. It's crazy how dropping in just one simple
texture can elevate your illustration into
a professional piece. I also designed eight
custom color palettes just for today's class. They're all based on
trending color ways and colors that have been
selling very well for me. I made these color palettes
as Procreate swatches, which means you can import
them directly into your iPad, and they'll show up in Procreate under your
color palettes. These swatches will only open and Procreate,
nothing else. They won't even preview
on your web browser, these are 100 percent
Procreate only. Because of that, I
also made a JPEG that contains all of the color
palettes on one page. JPEGs are pretty much
universal file types, which means if you want to view the color palettes or open them up in Photoshop or Illustrator, or anything else, the JPEG
file is there for you. I won't be using the
JPEG in today's class since we already have the swatch files which
work in Procreate, but you've got access to
it in case you'd like to use it for other
illustrations down the road. Speaking of that, the
freebies that I created, the color palettes and
the paper texture, are all royalty-free
and for commercial use. That means you don't have
to credit me or pay me, these freebies are
my gift to you to use on whatever
projects you'd like. Here's how to access
all of these freebies. Go to catcoq.com/blooms
and once you're there, you can type in
your email address to unlock the freebies. This will add you
to my email list, which means you'll get
my weekly newsletters, and you can unsubscribe
at anytime. Anyway, once you hit
that unlock button, it'll take you to
a Dropbox folder that contains all
of the freebies. You don't need a
Dropbox account to access any of these
files on Dropbox. Real quick, if you've taken any of my other iPad
classes and you already know how to import these assets into
Procreate and your iPad, you can go ahead and skip
forward to the next lesson, which is choosing a motif. If you're not sure how to get these assets to your
iPad, no worries. I'll walk you through the
steps of getting these files from Dropbox to your
iPad and Procreate. Let's dive right in. I'm going to walk you through
two methods for getting these files from Dropbox to
your iPad and Procreate. The first option is
if you're opening this Dropbox file from
your Mac computer, and the second option
is if you're opening this Dropbox file from
your iPad itself. Let's do Mac to
iPad first because this is the fastest and easiest. If you're watching this
class right now on your Mac computer and you have your iPad in front of
you to follow along, then the simplest way
to get these files to your iPad is to AirDrop them from your computer to your iPad. Airdrop is a
file-sharing feature that only works with
Apple products, so this will only work if
you're going from Mac to iPad. If that's the case, then open the Dropbox link on your computer and just
hit ''Download''. Remember, you don't need a
Dropbox account to do this, so if you get a prompt to sign into Dropbox, just ignore it. Everything will
download in a zip file, so find your downloads folder and just click that
zip to unpack it. Now, you can go
through each folder and send those
files to your iPad. It's super easy if
you have a Mac, because you can
just select all of your swatches and then
AirDrop them all at once. Swatch files are super smart, and they know where they belong. When they arrive to your iPad, you'll get a prompt to
open them in Procreate. They'll automatically load
right into your palettes. When I important new swatches, they usually show up on the bottom of my
palettes folder, we'll get to them
later in this class. You can go back to your
folder and AirDrop that paper texture to
your iPad as well. It will go directly into your folder library,
not Procreate. I'll show you how
to bring it into your Canvas later
on in this class. Finally, you can select those brushes and AirDrop
them to your iPad too, just like the swatches, they'll automatically import
right into Procreate. Depending on your iPad, your imported swatches can show up in a few
different places. Sometimes mine show up in the imported folder at the very bottom of
my brush library, other times they pop up
in their own folder. We'll get into this later
on in this class too. The other way to get these
assets into your iPad and Procreate is if you do it
all from your iPad itself. Enter your email, hit Unlock, and the Dropbox folder
will open on your iPad. You can click each folder and download the assets
individually. First, I'll start
with color palettes, then I'll tap the folder
called Procreate Swatches. Then tap that Download button up top to download
them all at once. Confirm the download,
which takes a moment then tap the download icon at the very top of your browser. Click the magnifying glass, and you'll see your swatches open in your downloads folder. My new downloads usually show up at the very bottom of the list. Tap the zip to unlock it, then open the folder, and you'll have all of
your swatches ready to go. Tap each swatch individually and it will automatically
import into Procreate, they show up here
in my palettes at the very bottom of
that palette window. I'm going to go back and
do the same thing to get all my swatches into Procreate. [MUSIC] Once you've
finished, again, all of those swatches will
appear in your palettes, usually down here at the bottom. Again, we'll get into that later when we actually
start illustrating. Once your swatches
have imported, let's go ahead and grab
those other assets. I'll go back to that
Dropbox folder, go back to bloom's and trims and now I'll grab
that paper texture, click to open the folder, tap Download, confirm, and once the load bar finishes, you can click that download icon to view it in your
downloads folder. Again, it usually shows
up at the very bottom, minus showing up arbitrarily
right in the very middle, which is just fine. I'll click it once, tap the icon on the
top right menu bar, and hit Save Image. Now that you've saved
your paper texture, it will actually save in
your iPad's camera roll, so we'll grab that
later when we need it. Last but not least, let's get those brushes. I'll go back to the
Dropbox folder, hit Class Assets, open up Procreate brushes, tap that brush set. You'll probably
see a screen like this because just like swatches, procreate brushes only show
up in Procreate, no worries. Go ahead and download
that anyway, confirm the download, click your downloads
icon up top, and tap that
TGTS_Demo brush sets. They'll automatically import
right into Procreate. They'll show up here
in your brush library, either in their very own
folder called TGTS demo or sometimes imports show up in your import folder
at the very bottom. Sometimes you have to do a
lot of scrolling to see them, but in this case, mine actually showed up here
in their very own folder, which makes it a lot easier. Where the brushes show up, just depends on
your model of iPad. Now that you have all of those class assets off of
Dropbox and in your iPad, let's dive right in to
choosing your subject matter.
3. Choosing a Motif: Time for the fun stuff:
Choosing your motif. So spoiler alert: The subject matter
today is going to be flowers and mushrooms. The class title kind of
already gave it away, right? So I'm gonna be talking about
why I specifically chose blooms and shrooms as the subject matter
for today's class. Well, one: they are
super fun to draw. And two: both of these motifs have one extremely
important thing in common. They are both on-trend themes, which means both of these are very strong sellers
in my portfolio. Since I make my living off of art licensing and
surface design, I want to create
designs that have strong potential to
sell really well. After all, this is how I
afford my lifestyle of traveling the world 24/7
and creating art as I go. The artwork I create is literally paying for me to
be in Portugal right now, which is pretty cool. So anyway, a huge part
of the reason why I've had so much success
in art licensing is because I've really made it
a big priority for me to key into trends and incorporate
those trends into my artwork. I have an entire Skillshare
class on trend-tracking and if you want to check it out, it's called, "How to Discover
Profitable Design Trends Before Anyone Else and Create
Artwork with Mass Appeal". Since I already have an entirely different
Skillshare class dedicated to trend-tracking, I'm going to keep this lesson pretty short and sweet for now. I've used those same
trend-forecasting models that I teach in that class and I've identified a mushrooms as a hot, current trend and florals as an evergreen,
tried-and-true trend. So let's talk about
the difference between those two really quick.
Mushrooms are a current trend, and they have been that way
for the past few years. Chances are if
you've walked into Target or browsed through
Anthropologie lately, you've probably seen
some shroomy products. These types of trends really hold their own for
a period of time. They're not a flash in the pan, but they're not
everlasting either. They're popular right now. So that's mushrooms for you. Now onto florals. I mentioned that flowers
are an evergreen trend. What I mean by that
is that flowers will always have the potential
to be strong sellers, no matter what decade it is. Go back in time and you'll
see ornamental flowers and everything from
fashion to pottery, to home decor
throughout the ages. Simply put, flowers will
never not be on trend. And this makes flowers
a really safe bet if I want to create
an illustration that not only has the potential
to sell well right now, but also sell well
for years to come. What I've done is I've
combined the two. Mushrooms are highly
popular at this moment, and they probably will be
for at least a few years. And flowers are always
going to be a safe bet. Plus, did I already
mentioned that both of these are
super fun to draw? Alright, so now that you've got a pretty solid grasp of why we're going with
blooms and shrooms, let's talk about
how to draw them. When I'm first getting started with a brand new illustration, I like to get my creative
juices flowing by looking at examples for how this
illustration could turn out. There are endless possibilities
for how you draw, and I like to browse through some examples to get me started. One of my favorite
resources is Pinterest. It's a visual search
engine and I use it to get inspiration
for my artwork, color palettes, cool
typography layouts and more. In this case, I'm
going to search "mushroom illustration" and
see what's out there. Specifically, I'm
browsing through to get an idea of things that I think are
working really well or things that I'm
not really that into. For example, I'm really loving these clusters of mushrooms
in various shapes and sizes. I think this is
working really well. And I think that this
might be an idea that I can incorporate into
my own artwork. I'm not so much a fan of having them all
spaced out like this. It looks cool here, but I want my
illustration to feel like a cohesive unit of combining
mushrooms with flowers. So right here, I've
been able to identify a direction that I want
my own sketch to take: Cluster of mushrooms
and flowers, not separated all
out individually. On this one right here, the labeling is pretty
interesting and I love how it incorporates
hand lettering, but I don't really want to
take that direction today. I think it might be a
bit too complicated for my illustration. What else? I'm getting a really nice
variety of color palettes here. Some really modern and bright, and others neutral and
true to the motif. I'm seeing a lot of retro
inspired palettes as well, probably since mushrooms were a really iconic motif in
the sixties and seventies, so using a retro-inspired
palette is a cool nod to that. Alright, so, noted.
By scrolling through a bunch of visual inspiration and looking at it with
an analytical eye, I'm basically fast
tracking my own process. I could sketch out a
million thumbnails and see what I like and don't, but by scrolling through
visual inspiration like this, I'm able to quickly
get a feel for the personal direction
that I'd like to take. And in this case, here's what I've decided. I'd like my composition
to be a cluster of mushrooms with a variety of
flowers peeking through. Groupings of three also tend to be more
aesthetically pleasing. I'm going to have
three mushrooms as the hero of the composition and three clusters of flowers as those side elements
coming through. There are a ton of different types of
mushrooms out there, but I like that iconic shape of the pointy head ones with
their little polka dots. It's cute and instantly
recognizable as mushrooms. And I want to make
sure that I'm infusing my own unique artistic
voice into my composition. So I already have a lot of flowers and leaves
in my portfolio. So I want to keep rolling
with that same graphic style. Simple shapes,
herringbone veining, and a sprinkling of
embellishments like little stars, dots and Xs that I have in other illustrations
in my portfolio. So now that I've made
these mental notes for what I'd like to incorporate
into my composition, I already have a
massive head start before I've even
begun sketching. So I encourage you
to do the same. Scroll through and
see what you like. See what you don't like. Are you leaning towards more realistic
mushrooms and flowers? That's awesome. That's
a great place to start. Or are you more into the look of abstract mushrooms and
simple graphic shapes? Cool, that's a great option
for your own illustration. Are you gravitating more
towards, let's say, these groovy vibes of
these retro shrooms? Then that is your path forward. So jot down a few
notes of what you'd like to incorporate
into your own artwork. That will be your head
start for our next lesson, which is sketching
out your thumbnail. So let's get started.
4. Thumbnail Sketch: It is time to get sketching. So I mentioned early on that
I have a little trick I use using reference
photos to help me sketch. I can literally draw over a reference photo to get
my basic shapes down. And then delete that
reference photo as soon as I'm finished with it. And this leaves me a nice, solid sketch as the backbone
for my illustration. So I'm going to show you
exactly how I do this. So first things first, let's gather some
reference photos. I use Unsplash.com as the source for all of
my reference photos. Unsplash has
royalty-free photos, which is a huge bonus. So I'll type "mushroom" into the search bar and let's
see what we've got here. Lots of good stuff. I don't really need to
download the high-res. I'm just gonna go ahead and screenshot in on the
ones that I really like. These guys right here. I like this guy right here. Screenshot. Awesome. I've got a few
options of mushrooms. So feel free to
browse through and screenshot as many
mushrooms as you'd like. What we're using these
reference photos for is to get the basic and general
shapes of these mushrooms. Alright, so I've got
a few good options already screenshotted. Let's go ahead and
search for flowers. So I mentioned that I wanted three separate groupings of
different types of flowers. So that's what I'm
gonna be looking for. I like these. Alright, so I've got a couple
of options for flowers. I want one more and I think
for my final flower option, I'm gonna go with
hibiscus flowers. I have a lot of hibiscus flowers
already in my portfolio, so it feels pretty
on-brand for me to incorporate them into this
illustration as well. Remember, it's all about
consistency and staying true to your own
unique artist voice. Cool. So I've got a nice
range of screenshots. The next step is to
open up Procreate. When I open up Procreate
for the first time, this is what my
Gallery looks like. I wanna go ahead and
start a brand new canvas. So I'll hit this plus
sign on the top right. Click this "New Canvas" icon. And I want my sketch
canvas to be pretty small. Eight by ten. That'll give me a lot
of layer options. So I'll switch it to inches
and have it be 8 by 10. 300 DPI is perfect. And check it out: That gives me 89
possible layers. Again, you might have fewer layer options depending
on your model of iPad. But for me, this is perfect. I'll go ahead and press "Create". We'll go ahead and scale up our canvas to be
much larger later. But for the thumbnail sketch, it doesn't really matter
if it's low-res. The art I care about being high-res is that
final illustration file. So for thumbnail sketches, I usually work on a
pretty small canvas. The first thing I
wanna do is bring those reference photos
into my art board. I'll go up here and tap
the wrench for actions. And instead of just
clicking "Insert a Photo", I'm actually going
to swipe left on that and insert a Private Photo. So the difference
between the two is a Private Photo won't show up later in your
time-lapse replay, but if you insert a regular
photo, it will be there. So it's just a personal preference. I don't necessarily want my time-lapse replay to include a sketch
over a real photo. So I usually go with "Private". If you don't see
your screenshots, go ahead and click "Albums", "Recents", and this is
where they should appear. So I'm just gonna go
one-by-one and grab these in. I'll start with the mushrooms. Cool. They've inserted
into my Canvas. And you'll see over here if
you click your Layers icon, they are now their own individual layer,
which is perfect. I'll go ahead and bring
the other one in as well. So "Actions", "Insert a Private Photo" and
grab that other mushroom. Perfect. You can always tap
your pointer icon to set that transformation. Alright, so now it is
time to start tracing. So to do that, I'm gonna go
over here to my Layers panel. And I already have layer
one already established. I'll go ahead and drag that
up to the very tip top. Go ahead and tap that
layer to select it. And now whatever I draw on this layer will only
be on this layer. It won't be drawn on top of
any of those other layers. You can always select
your layer, hold it, and drag it around to
rearrange the stack like this. But I want my sketch to be
on top of everything else, So I'll put it on top
of the layer stack. Now I'll go to my brushes and I want to select a
nice sketching brush. Procreate already has a really nice default
brush built into place. I have so many
different folders here. Yours probably doesn't
look as chaotic as mine. But yes, "Sketching" is one of the default folders
that Procreate has. And Peppermint is my favorite
sketching brush to use. It replicates a soft
lead pencil really well. One more minor thing, I'm gonna go over here. Click this circle to
open up my Palettes. Choose Disk. And when I sketch, I usually like sketching
in a bright red. It's easier for me to
see red on top of photos rather than a normal
desaturated gray or black. Whenever you change your
colors on your palette, it'll be indicated over here on the top-right circle as well. So if I were to switch
to a bright blue, it would be indicated here. But remember in this case, I want bright red. So again, I'm on my
Peppermint sketching pencil, which is in the
"Sketching" folder. And I'm on a brand new layer, and it's indicated in blue to show me that that is
the layer selected. Not one of these layers, but my own layer up here. Cool. You can always adjust the size
of your brush over here to the left and the opacity
of your brush as well. But I want 100% opacity and we'll just see how
this size turns out. Perfect. So here's my mushroom. It's got some dimension to it. It has this little
skirt hanging off. Then it has its stem. Cool. So, pretty simple. I probably didn't even need
a reference photo for that, but it's still good to have. Now, if you go over here to
your Layers and open it up, you can turn off the visibility of those
background layers and you'll see your sketch
all on its own. So that's perfect. But I did mention earlier
that the mushroom I want to draw is actually one of those little pointy head
mushrooms, but the dots in it. So I'm just gonna go ahead and adjust my sketch accordingly. So again, that sketch
layer is selected. I've turned off
the visibility of these other layers so that
they're not distracting. I'm just going to draw, overhead, that pointy mushroom shape. Maybe its lip is a little bit
asymmetrical like this. Perfect. And now I want to
erase the part of my sketch that I
don't need anymore. Erasing is really simple. Just go over here to
your Eraser icon. I'm going to zoom
in a little bit. And you can start erasing out the parts of your sketch
that you no longer need. And I want to point
something out real quick. If you tap your eraser, you can actually choose
which brush you erase with. It's a minor thing, but sometimes if your
eraser looks really weird, you might need to change
the eraser brush itself. I prefer erasing with Syrup, which is one of Procreate's
default brushes. You can find it under
the "Inking" folder. Just like the brushes, you can change the opacity and the size of
your eraser itself. So if I have a
giant size eraser, I'll have less control. Oh, and by the way, two fingers will always undo whatever action
you just made. So tap two fingers on the screen and it'll un-erase
whatever I just erased. Three fingers will go
back to where you were. So three, redoes the action
and two undoes the action. You can also use these
little arrows over here, which do the exact same thing. Alright, so I'm going
to bring the size of my eraser down a little bit, just to give me a little
bit more control. And I'm erasing out the parts of my illustration that
I no longer need. I can go back to my brush to fill in those areas that
I accidentally erased. It doesn't have to be perfect. Alright, so I have my first
icon completely finished. It is the mushroom
that is based off of this reference photo. So as you can tell, I took my own
creative liberties as I drew on top
of the reference. It's not a flat-headed mushroom, it comes up to a peak. And instead of being very
symmetrical with its curvature, I gave it some asymmetry to
make it more interesting. So at this point, I don't need that
reference photo anymore. I can go ahead and swipe left on that layer
and hit "Delete". Alright, it's time for my other
mushroom reference photo. So I'll go ahead and toggle on the visibility of that layer. As you can see right
now, it's overlapping, so it'd be kind of hard to
draw while it's overlapping my other layer right
here. No problem, I'll just move it around. So I'll tap that
layer to select it. Again, it's in blue, so I know that
layer is selected. And then I'm gonna go over
here to my pointer icon. And this is how you
move things around. I don't like "Free Form". I prefer "Uniform". And that way, if
you scale something up and down, it
stays proportionate. If you have it on "Free Form", it gets a lot more skewed. So "Uniform" will
solve that for me. Alright, so I'm going to bring my reference
photo over here. Maybe make it a little
bit bigger just to give myself some room as I
sketch out these mushrooms. Whenever you finished
moving things around, you can press that pointer tool again to set that
transformation. Alright, now I'm going to
come over here to my Layers, and I'm going to click this
plus sign to add a new layer. The key with thumbnail
sketches is to keep each element
on its own layer. And that way, it makes
it really easy to rearrange those elements
into your thumbnail sketch. Alright, so I have my
brand new layer selected. It's on top of that reference
photo, which is perfect. If it's not on top, remember you can grab that layer and rearrange it on the stack. I have my mushroom layer
already on its own layer. I'm gonna do the same
for this guy over here. So brand new blank
layer selected. It's on top of my
reference photo. I'll hit my Brush tool. Peppermint is perfect. And this one should
be pretty easy. It's just a line
and a few ovals. Cool. Again, I probably didn't even need a
reference photo for that, but it's nice to
have either way. So now I have this individual
sketch on its own layer. I have my giant mushroom
on its own layer. I'm going to go ahead,
hit that plus sign. Start a new layer. I'll go ahead and
do the same thing. Cool. So now I can go
back to my layers, swipe left on that reference
photo and hit "Delete". So at this point on my screen, I have three separate layers, and each layer is
its own mushroom. This is perfect. This way, when
I want to rearrange my composition and
try out new things, by having everything on its
own individual layer, I can move it separately without affecting
the other layers. So now I'm gonna do
the exact same thing and bring in my
flower illustrations. So tap that wrench.
Swipe left on "Insert a Photo" to
insert a Private Photo. I'll grab these flowers first, and tap that pointer
tool to set. I'll go to my Layers palette. Click that plus sign
to add a new layer. Make sure it's on top
of my reference photo. Select my brush. Same thing as before. I'm just gonna do a
very simple sketch to help me get the basic
forms of this flower down. I'm gonna go back to my Layers palette, Add a new layer, select my brush
and make sure that each of these flowers is on
its own individual layer. As you can see with my
thumbnail sketches, they're just very
general sketches. This sketch won't be in
our final illustration. It's just to help us get an idea of where the forms
should be placed. Alright, so I'll do one
more of these flowers. So I'll select my
Layers palette, hit that plus sign, and draw one more in there. Maybe this is just
that bud right here. Perfect. I can go ahead
and open up my Layers, delete that Private Image, and you can start seeing the cluster of
shapes on my screen. It's fine that they
overlap because everything is on its
own individual layer, which means we can move it
around if we'd like to. Alright, let's do
the same thing with those other two
flower sketches. And as you can see, my screen is pretty chaotic. This is not a
composition whatsoever. This is just a bunch of individual elements
scattered on the screen. So now it's time to
start arranging them into something that
looks beautiful. So when I'm working
on a composition, I like to start
with the biggest, most important elements and then work from large to
medium to small. And that way I make sure
that I have room for all of the important elements before finding little areas to
put those details in. Let me show you what I mean. So I'm going to start by
turning off the visibility of all of the layers that
aren't that big mushroom. This is gonna be
my hero element. So it's this guy right here. I've gone ahead and tapped
that layer to select it. Now, I want to do
three big mushrooms as the main part of
the composition. So instead of
redrawing each one, I'm going to be a
little bit lazy and just duplicate those layers. So I'll swipe left
on that layer, hit duplicate, and do
it one more time. Swipe left and duplicate. So now I have three
distinct mushroom layers. They're all perfectly
overlapped with each other. So let's start
breaking them apart. I'll go over here
to my pointer icon. Again, make sure that
"Uniform" is selected. And I'm just gonna go
ahead bring these out and start rotating them around in a way that
looks interesting. If your movements aren't
very fluid like mine are, it means that
your "Snapping" and "Magnetics" might be turned on. When these are toggled on, you have a lot less
control with where your shapes go.
They'll come in handy later. But for now, I want to
have ultimate control. So I'll go ahead and make
sure that "Snapping" and "Magnetics" are turned off. And what I'm doing here is using this green toggle to
change the rotation. You can rotate your shapes. You can flip them
horizontal or vertical. You have a lot of flexibility
over here in your palette. So I'll make it a
little bit smaller. Maybe overlap this
mushroom skirt just a tad. Press your pointer tool to
set that transformation. I'll go back to my
Layers palette. Find that other mushroom that's underneath, and do
the same thing. Grab my pointer icon, bring them off to the side, rotate just a smudge. Maybe bring it
down a little bit. And when you're finished, go ahead and press that pointer tool to
set the transformation. Now that we have
that composition established for those
three primary mushrooms, which are the hero elements
of our illustration, let's go through and start
peppering in those florals. So I'll go back to my Layers. And I want to start with
the hibiscus flowers since those are the
second largest elements of this composition. You can uncheck and check the visibility to make sure
you're on the right layer. Don't forget to select it so that we're moving
the right one around. Alright, I'll go ahead and
go over to my pointer tool. Bring this flower down a
little bit and maybe flip it horizontally so it's
facing the other way. Maybe rotate it just a smidge. I like how it's overlapping this smaller mushroom over here. I think that's kinda nice. Maybe it just overlaps
a little bit. Cool. Press that pointer to
set the transformation. Go back to my Layers, turn on the visibility for that other hibiscus
and select that layer. Go over to my Transform and same thing. Maybe I'll rotate this one
around a little bit, too. And play around until I
find a nice spot for it. Cool. That's looking
pretty nice. I'll press the arrow to set that transformation and
now go back to my Layers. Alright, it's time
to bring in some of those other flowers. Alright, so as I
look at this composition, it's looking pretty good. Although I have this
negative space right here, that feels a little bit awkward. So I think I want to
fill up that space with something to give it a
little bit more purpose. So in this case, I think what I'm going to do is add a crescent moon up here. So I'm gonna go over
here to my Layers, hit this plus sign to
start a new layer. Make sure my brush is selected. And now I'm going
to draw a circle. So Procreate actually has some pretty cool
shortcuts to help you get a perfect circle.
Here's how to do it. If I were to just draw
a circle like this, it looks okay, but it's
certainly not perfect. It's a little bit lopsided. Two fingers to undo. Instead, I'm going
to draw a circle, but leave my pen
touching the screen. And that way it's going to
snap into this perfect oval. But I can do even
better than that. If I take three fingers and press and hold
them on my screen, you can see that
that oval snapped into an absolute,
perfect circle. This is exactly what I want. So I'll go ahead and release my pen and then
release my fingers. I mentioned I wanted a
crescent moon, not a full moon. So I'll show you a quick way to make crescents in Procreate. I'm gonna go over
here to my Layers. Make sure that it's my
circle that's selected. Swipe left, hit "Duplicate". Go to my pointer tool. And I'm just going to
resize it a little bit until it feels
like a nice crescent. Maybe it comes off this way so that the flowers
are overlapping. Press your arrow tool to
set that transformation. Now, I'll go back to
my layers and I'm going to merge both
circles into one layer. So you can take two fingers and simply pinch them together. And now they're on
their own layer. With that layer selected, I can go to my eraser tool
and just erase out the parts of that crescent that I
no longer need. Perfect. So now I have my crescent moon with the flowers
overlapping it to give this composition a
little bit more purpose. Alright, so I have finished
my first thumbnail sketch. If you want to try out a
few more layer thumbnails, I'll show you a quick shortcut. So I'm going to go back
to my Layers palette. Click this plus sign
to add a new layer. Go over here to my color
palette and just pick a color that contrasts what's
going on here on the screen. So maybe I'll choose a
mint to contrast that red. And now, you can literally
grab that circle and drop it right into your
composition like this. So now everything has
turned mint green. But we've also blocked some
parts of the illustration. So let's go ahead and
go to our Layers. And reorganize just a little bit and bring that background
color to the very bottom. And right now my Layers palette
is a little bit chaotic, so I'm gonna go ahead and group them together into one folder. So to do that, I have my
background layer selected. I'm just going to swipe right on every single one
of these layers. And then up here hit "Group". And now you can toggle
this carrot down. And all of your layers are contained
within this one group. And the reason I want to do
that is because I want to duplicate this sketch
and try a new one. So with this entire
group selected, I'm going to go over
here to my pointer tool and just make this
composition a lot smaller. Again, press that pointer tool
to set the transformation. I can go back to my layers. And remember, you can toggle
down your group to see all of the individual layers or hit that carrot to
consolidate it. What I wanna do is swipe left on the group and hit "Duplicate". Now, using my pointer tool, I can grab this new composition and bring it over
here to the right. Set that transformation. And now I can rearrange the individual elements in this second thumbnail
to try something new. And now this is the
beauty of having all of these elements on their
own individual layers. You don't need to
redraw anything. Instead, you can
simply rearrange. I'll show you how. I'll go back to my
Layers palette. Make sure that this
is the new group that I want to work with. I always check by toggling off and on the visibility
of that layer. Toggle down my carrot. This is where I can try
some new compositions. So I'm just gonna go through
layer by layer and try rearranging into
a new composition to see if it's working
better than the first. Alright, so now I have these
two distinct thumbnails. I'm going to go through and clean up that
original thumbnail a bit so that I have a better
comparison between the two. So I'll go back to
my Layers palette, hit that carrot to consolidate
that new thumbnail. Select my old thumbnail, toggle down on my carrot. I'm just gonna go
through layer by layer and erase if I need to. Alright, cool. So I've gone ahead and
cleaned up both compositions. And now we can look at
both of them together and decide which one I'd like
to move forward with. And by the way, at this point, you now know how to duplicate your groups and try out a new
thumbnails and rearrange, erase, all of that jazz. So you can go ahead and create more thumbnails
if you'd like to. In this case, I'm just gonna
go ahead and stick with these two because I think
they're both great options. But if you're still
working out a few kinks, feel free to go ahead and
duplicate those groups, maybe a third or
fourth thumbnail until you find one that's
really hitting home. But I'm gonna go ahead and
take a look at these two and decide which one I'd like
to move forward with. While I think the balance on this one to the far right
is really intriguing, I think ultimately, I'm still geared more towards
this first thumbnail. I think that slight asymmetry
is really appealing. I love having the moon in there. And I liked these
different clusters of all of these flowers kind of grouped together coming out from
behind the mushrooms. So I think this is the composition that
I'll move forward with. And also, one really important
thing I want to point out: You'll notice that on
both of these thumbnails, none of these
elements are getting cut or cropped off the edge. I'm doing that intentionally.
For all of my compositions, I like keeping them within the
boundaries of that canvas. And the simple reason
why is because later on, I like having the
option to turn all of these illustrations into
a seamless pattern. And for seamless
patterns to work, it's best if your element is whole and not cropped
off in any weird way. We're not going to
get into seamless patterns in this class, but I do have another Procreate
class that teaches you all about creating
seamless patterns right here in Procreate. Alright, so I've decided
that this left thumbnail is the one that I'd
like to move forward with into my
final illustration. So let's go ahead and start infusing some interesting
color palettes.
5. Color Palettes: Now that you have in your
thumbnail sketch finalized, it's time to start
playing with color. I'll show you how. So first things first, I'm gonna go ahead and click "Gallery" to go back to my
main Procreate gallery. Now I'll go to "Select", select this canvas
and hit "Duplicate". Go ahead and hit that X
To undo the selection. Now I've just made a perfect duplicate of that
original sketch Canvas. I'll go to "Select" one more time, grab both of these guys, and then hit "Stack". Hit that X. A Stack in Procreate is essentially a grouping
of canvases together. So from this point forward,
we're going to go ahead, open up our Stack and
work within this itself. This just helps us
stay a little bit more organized in Procreate. Alright, so speaking
of organization, I'm gonna go ahead
and click where it says "Untitled Artwork" and change this to
"Thumbnails". And press Done. And then hit where it says "Untitled Artwork" for the second canvas. And change this to
"Color Exploration". Perfect. I'll go ahead and open up that "Color
Exploration" folder. And I know that this is the thumbnail I'm interested
in moving forward with. So I'm gonna go ahead and delete this one
over to the right. So I'll open up my Layers, find where it says "New Group". Toggle that carrot. And turn on and off the visibility until
I know which layer it is that I'd like to get rid of.
Swipe left and hit "Delete". This thumbnail
sketch is finalized, so I no longer need all of those individual layers of each individual piece
of that illustration. I'm going to flatten
them all onto one layer. So I'll toggle
down that carrot. Click to select the first
layer in my group. And I'm just gonna go
through and start combining them together like this by
pinching them together. Be careful though, because
I do want to make sure that that background color and the illustration itself are
on two separate layers. This is important so
that we can try out different background
colors that don't affect the illustration itself. Let's get into it. Oh, and one more thing I
want to point out. So over here, now that our layers
are flattened, if we want to move anything, it moves together
as one whole group. We can no longer move
individual elements around because they're all
flattened into one layer. But, if you ever want to go back and tweak some
of these elements, you can always go back
to this general Stack, open up that
original "Thumbnails", and this is where you have the flexibility to move these
individual elements around. So by the time I
finish with my Stack, I'll have a complete
collection of this illustration
from start to finish. The whole idea of this is it's all non-destructive
editing techniques, which means if I ever need to go back and fix something later, even if it's flattened, I have the flexibility to do so. That's how I'll
continue duplicating each individual canvas until I get to my final illustration. But that's jumping
ahead a little bit. Let's get back into
color exploration. So I'm going to open up this
"Color Exploration" canvas. Click the red dot to get
over into my color palettes. And down here at the
bottom menu bar, go ahead and tap "Palettes". When you import palettes
into Procreate, they generally
import at the very, very bottom of the stack. So you might see them down here, but depending on
your model of iPad, they might be up here at
the very tip top as well. So go ahead and make sure
that you have all of the color palettes in place if you'd like to follow
along with one of mine. And I'm gonna go ahead and
pick one to get started with. Let's see, I like this
Orchid Truffle palette. I think this is the
one I'll start with. So I'm gonna go ahead and click these three dots and
choose "Set as Default". And now whenever I'm in any other option and I go back and open up
my color palettes, Orchid Truffle is gonna be
the first one that pops up. It just makes it a
little bit easier. So for this one, I'm
actually going to start by determining what the
background color is. I'll go over here to my Layers, and make sure that background
layer is selected. This is why it's important
to keep those two layers separate: the sketch and
then the background. Alright, so my background
layer is selected. I don't want that
bright cyan blue. So I'll come back to my layers. And let's try this
dark green right here. So I'll select this green, make sure that the
indicator changes here. And then again, with
that layer selected, I can grab that circle and drop it right
into the background. If you want to try
any other color, you can just go through, select different colors, grab that circle and
see how it looks. But I like that dark teal green. So I'm going to start with this. Alright, so instead
of filling in color on that layer
thumbnail itself, I'm actually going to do it on a brand new layer that's
sandwiched between the two. So I'll hit that plus sign
and make sure that my blank layer is underneath
that layer thumbnail sketch, but above the background
layer itself. So now whatever I draw on this layer will be underneath
a thumbnail sketch, but over the background. Now I'll go to my Brushes. And instead of filling in
the color with a pencil, which would just take forever, I'm going to choose
an inking brush that's a little bit
easier to fill in. So I'll scroll up here to
the top of my brushes. Find that TGTS Demo, and go ahead and grab the Round Liner.
So with this brush selected, and if you tap that brush, it'll take you to
a Brush Studio. We don't need that right now. Just go ahead and click "Cancel". This is the brush.
That's whoops. This is the brush that's
selected and start with the largest elements
and then work from large to small
in terms of color. So I'll grab that cream color. You can press it once
to select it. Again, make sure it changes up here. And double-check that
you're on that blank layer. And I'm going to start by
just filling in the moon. As you can see, very, very rough interpretation. So you don't actually
need to go through and fill in all of
your colors like this. That would take forever. Instead, you can just
fill in these shapes. And to do that,
It's the same thing we did in the background. You can grab your color, drag it over and release
it right into your shape. So if your entire art board just turned the
color of your shape, I'm going to show
you what happened. So two fingers to
undo and I'll show you how you can really
control that fill. Alright, so I'm gonna
grab that color. But instead of dropping
it and releasing my pen, my pen tip is still
touching the screen. And I want to point
out this thing over here called "Color
Drop Threshold". You can actually control how much of that
color is filled in. If it's at –oops– If it's at a full...
–let me try that again– If it's at a full 100%, it's going to fill in everything
on the entire canvas. If it's too low, you'll start seeing this
halo around the edges. So with that pen still
touching the screen, you can find a really
nice perfect balance where the whole shape fills in, but not the background
itself. Alright, cool. So what I'm going
to do is just go through and start filling in some color to get a general idea of what a palette
could look like for this illustration. Again, I'm going to start with the largest shapes and work
my way from large to small. Alright, I'll go
back to my Palettes. And I'll have this main mushroom be this kind of melon color. Again, let's just double-check that were on that middle layer. Cool. So we're going to
put all of our color fills on this layer itself. Alright, so I'm just drawing a basic shape for what that
mushroom head looks like, dragging it, filling it in. Remember, if your whole
screen just changed color, keep your pen touching
the screen and play with that Threshold until you fill it in at a percentage that
makes the most sense. Alright, so I'm
just going through, selecting colors and
filling them in. I'm keeping it pretty loose. And all of the
colors I'm using are within this Orchid
Truffle palette. Alright, so I'll grab that pink. Maybe that's the side mushroom. And how about this ochre yellow, for this guy right here. Sometimes I use Color Fill, sometimes I just fill it in
if it's gonna be quicker. Again, just super blobby shapes to get an idea for that
color in these areas. The idea here isn't that we're completing this
final illustration. It's that we're
getting a really quick color study so that we know what kind of color palette we'd like to move forward with. I want to point something
out real quick. So when I filled in this
left side of the flower, all of the colors kinda
keyed into the same pink. That's a Color Threshold issue. So two fingers to undo. So instead, I'm
going to grab this, keep my pen touching, and then adjust that Threshold until only the petals fill in, but not the rest of
the illustration. Cool. Alright, and just like that, we have one of our
first color palettes already established. So rather than just
moving forward right now, I want to try out a
few more and see if one resonates with me
more than the others. So, like with most things, when it comes to art, usually your first try isn't
the absolute winner. But the second or
third is gonna be the home run. So with color
palettes like this, it's really fast
and easy to try out a few different solutions
and see what works best. I'll show you how to do
that. I'm gonna go back to my Layers, tap where
it says "New Group". Swipe left and hit Duplicate. Now with this new
group selected, I'll go over here
to my pointer tool. Then bring this palette over, press the pointer tool to
set that transformation. Now, just like before, I'm going to try out
a new color palette and see what's working
and what's not working. So I'll go ahead and
open up my layers. Select that background
layer itself. Remember, you can double-check
by toggling on and off that layer visibility to make sure you're
on the right layer. Here's a pro tip. Before you spend
all the time and effort of creating a
new color palette, try swapping that
background color first and see if
that does the trick. This is the easiest
thing you can do when it comes to trying
out new color palettes. It's just trying a
different background color. Cool. That actually feels like a completely different vibe from that original illustration with that turquoise background. This new one feels
pretty retro and mod. I like it. I think what I'm
gonna do now is try out one of my other
color palettes. I have a lot of fun
swatches over here. So I'm gonna go ahead
and make another one. We'll go back to my Layers. Swipe left where it says
"New Group", hit Duplicate. And with that new
group selected, I'll go to my pointer tool. Just go ahead and bring it down. Press that pointer tool to
set the transformation. Alright, with this
new guy down here, I'm gonna go ahead and choose a brand
new color palette to explore. I like this Magic Mimosa. I'll hit the three dots, set it as my default. So it always pops up
front and center. Alright, I think I want to try a cream background for this. So I've selected the cream, verified that it
changed colors up here. And I will go back
to my Palettes. Select, make sure by
turning on and off the visibility that I have that background layer selected, I'm just going to click and drag and fill in that background
with that cream color. And now I'll go
back to my Layers. Select that blobby color layer, and I'm going to start
replacing these colors with the colors from this
Magic Mimosa palette. I probably won't even
have to redraw anything. I can just color-fill
over the original colors. Alright, so I'm going to start
with the biggest element, which is the sun.
I'll use the yellow for that guy and just
click it and fill it in. Triple check them
on the right layer. Perfect. Alright. What if this main mushroom
is that darkest purple? And again, if you're
finding that the colors are skewing to the entire
color palette like this. Remember that's a
Color Threshold issue. So to solve for it, keep that pen
touching the screen. Here I'll show you real
quick. Two fingers to undo. Keep that pen
touching the screen, and move it more to
the left or more to the right depending on what
needs to be filled in. And in this case, I need to bring that
threshold down a little bit so that only the
mushroom cap fills in. Not the rest of the
illustration. Cool. So I'm going to go
through and start filling in the colors to replace all of these with the
Magic Mimosa palette. Oops. Sometimes if you don't land exactly where you're
supposed to, the whole background area
will fill in. No worries. Just two fingers to undo. Cool. So now I'm gonna go see all of my
palettes together. I think I'll do that same
background swap just to try a new background with
this Magic Mimosa palette. Go to my Layers,
select that New Group, make sure it's the right group. And swipe left where it says
"New Group", hit Duplicate. Use my arrow tool
and move it over. And for this one,
I think I want to try a bright yellow background. So I'll turn on and off that layer visibility to make sure I'm on
that right layer, make sure it's
highlighted in blue. Go to my color palettes, grab that yellow and just drop it into fill
in the background. For this one, I'll need to
change those yellow icons to be a different
color so that they actually pop out from
that background. So make sure that
you're selecting the color blob layer itself. I'll go to my color
palettes and fill in all of the yellow to be
a cream. Alright, cool. So I've got a lot of really
nice color options here. As you can see, they're very, very abstract, but that's fine. Again, the whole point of this, so that I can get a general
idea of what's working, what's not working, and have a good color palette that I
want to move forward with. And in this case, bottom-left is
definitely the winner. I really love where this
color story is going. I think it pops off
the background well. It makes a really
nice contrast in colors. It feels fun, feminine
and retro all in one go. So this is gonna be the color palette that
I move forward with. So at this point for you, you can go ahead and continue
exploring color palettes. Maybe you haven't found
the exact right one yet. That's all right. You can continue exploring this and see what
works best for you. I'm gonna go ahead
and stop here, choose this bottom-left
palette and use this as my color inspiration for moving forward
to the next step, which is starting our
final illustration. Let's get going.
6. Filling in Shapes: So now that we have our
color studies finished, and we have zeroed in on the color palette that we'd
like to move forward with, it's time to start our
final illustration. So to do that, I'm going to go
back to my Gallery. And at this point, we're going to start
a brand new art board at that larger canvas size. And if you accidentally
went out into the full Gallery, no problem. Just to go ahead and tap into
your Stack and you'll get back into your grouping of illustrations that
we're doing today. Alright, so I'm gonna
hit this plus sign at the top right corner
and start a new canvas. Click that other plus sign, change it to inches. And this is my big boy canvas. I want it to be a lot larger than that original eight by ten. So this one is gonna
be at 24 by 30 inches, which gives me a DPI of 300, which is perfect, and
six available layers. So remember, when we worked
on that earlier canvas, it was a lot smaller. So we got a lot more layers. But when we work on larger
canvases like this, Procreate will restrict
the maximum amount of layers you can use. But in this class, I'm going to show you
some workarounds for this limited layer
issue. Real quick, I mentioned earlier
in this class that some iPads are different
when it comes to the maximum amount of layers and canvas size
you can use in Procreate. If you can't get this 24 by
30 inch canvas at 300 DPI, no worries. Just try working with some
smaller canvas sizes until you find one that your Procreate
app allows for your iPad. All right, I'm gonna go
ahead and click Create. Cool. So this is my brand
new large canvas. Looks lovely. The first thing I want
to do is go ahead, go back to my Gallery, which opens up my Stack. I'm gonna go ahead and
click this canvas, then bring it all the
way to the right. And this just helps
me stay organized. It's the progression as I go. So thumbnail sketches,
color studies, and then we're going to
start our artwork over here. But I'm actually
going to go back to my thumbnails. And what I wanna do is grab that thumbnail sketch that I
want to move forward with, copy it and paste it
on that new canvas. So I'll open up my Layers, consolidate these groups
by toggling that carrot. That's the one I want. So I'm going to hide
that other group. Hide that background
color layer. Toggle down that carrot. And hide that cyan background. So the only thing
we should be seeing here is the sketch itself. It looks like I accidentally
have a little blob on there. No worries– sometimes
that happens. So just going to double-check, the only thing on this art
board is just the sketch. There's no background
colors, anything like that. So what I'll do is
take three fingers, swipe down and hit "Copy All". So by copying all, it's gone ahead and copied
that entire sketch. It's everything
available on the canvas. And since we turn that
background layer off, it's transparent. So now we can go
back to our Gallery. We're back in our Stack. Tap "Untitled Artwork". Three fingers swipe again. And we're going to "Paste". And there is our perfect sketch. It's really teeny tiny
because remember, we were working on
an eight by ten canvas. Well, we were working on a quarter of an
eight by ten Canvas because we shrunk
our sketch down. No worries. I'm just gonna go
ahead and enlarge this guy so that it fills up the entire frame
of the canvas. If yours is skewing a lot, that means you have
"Free Form" selected. That's when it does
stuff like this, which we don't want.
Two fingers to undo. Go ahead and make sure
that "Uniform" is checked. Cool. So I'm just going to size
this to a nice place. When I feel like it fits, I'll go ahead and tap that arrow to set
the transformation. Now what we have
done is we have put our thumbnail sketch on
our final large canvas. So if you go over
here to Layers, there should only be one layer. It's just that thumbnail
sketch and it's transparent. If you turn the background off, it's a transparent sketch. And now that we have our sketch placed on
our large canvas, it's time to start working
on that final illustration. So the first thing
to check is to go over here to
your Brush Library, make sure you have those
sample brushes imported. Of course, you're welcome to
use any brushes you'd like. These are just the
freebie brushes that came with this class. Also, we can go ahead and
check our color palettes. And we have our color
palettes imported as well. I'm gonna go ahead
and move forward with this Magic Mimosa palette. So to get started, the first thing I'm
going to do is go ahead and fill in this
background color. Background color layers
are default in Procreate. So this layer will
always be here. You can't swipe
left and delete it. But that's cool. I can go ahead and tap that thumbnail and change it to that cream background
of the color palette I had decided to move
forward with. Cool. So now we have our background color
established. By the way, you can go back
anytime and change your background colors to
whatever color you'd like. But again, for this one, I like that kind of
off-white cream. Alright, cool. I'll go back to my Layers. And now I'm going to add a new
layer. So hit that plus sign. And my layer is above
my thumbnail sketch. And this is just a
personal preference. You can either draw your final over your sketch or under it. Either way, that's sketch is
going to get deleted later. So whatever works best for you. If you prefer to have
your sketch overhead, you can bring that layer down and keep it underneath
that sketch. Alright, now I'll go to my
brushes and I'm going to use this Round Liner brush to
outline all of the elements. This brush is kinda cool. It's got a very
slight texture to it, which adds a little
bit more character to your illustrations. And I'm gonna go
ahead and go back to my color palettes and start with this really
deeper, darker purple. And I'm going to start
with my primary element, which is this first
large mushroom. Alright, so I've chosen
my color palette. It's indicated up here
in the top-right corner. I am on my Round Liner brush and I'm on my new blank layer. I'm not sketching
on the thumbnail, I'm sketching on a
completely blank layer. And this is really
important because later on, we're
actually going to be deleting that
thumbnail sketch and just have our final
illustration come through. So whatever you do, make sure you're not drawing on your thumbnail sketch
because we want to be able to just
delete that later. So, new layer is selected. It's completely blank and
we're ready to start drawing. So I'm going to zoom
in a little bit. Triple check that I'm
on the right brush. Cool. The opacity of that
brush is up at a 100%. Right now the size is at 100. Let's see how that looks. That looks pretty good, although I might bring
it down just a smidge, so it's not as textured
on those edges. Let's see 40 percent. Oh yeah, that feels
a little bit better. Alright, So two fingers to undo. And now with that brush at 40%, I'm gonna go ahead and
outline my mushroom. If you ever mess up your lines, remember two fingers to
undo and start again. Cool. So what I've done is I've
drawn an entire shape, and that shape has
connected entirely. There's no gaps, so it's not like a little gap
in that circle. It's filled in entirely. I'm actually going to go
back to my layers and bring that sketch above my thumbnail
so it's easier to see. Cool. So with this shape
filled in entirely, I can grab my color and drop
it right into the shape. But remember, we want to keep an eye on that Color Threshold. Because if I zoom in now you see this halo kind of coming around. That shape didn't fill in in its entirety, but I'll
show you how to fix that. So two fingers to
undo that Color Drop. So I'll grab that color. But instead of dropping
it in and letting go of my pencil, my pen is
still touching the screen. And now I can play with
that Color Drop Threshold. Too far to the left, I get this weird halo.
Too far to the right, it fills in the whole screen. I want to fill it in just enough so that it fills
in the entire shape, but not the outside edges. So again, my pen is still
touching the screen and that's how I can take a look at that Color Drop Threshold. So 97%,
that looks fantastic. I'll go ahead and
release my pen. Now the entire shape has filled in and there's no weird halo
effects on those edges. So what I'm gonna do now
is go ahead and fill in the base shapes for
my primary mushroom. I'm going to do all of those on separate layers so that I
can texturize them later. So I'll go back to my Layers, click the plus sign
to add a new layer. Go back to my color palettes. And I'm going to use this
lighter fuchsia color again on its own
brand new layer. So it looks like this. Awesome. So something I want
to point out real quick. If I tried to fill in the skirt, right now, the entire canvas
would change to pink. And the reason that's happening, two fingers to undo is because the shape isn't
entirely contained. It's got this huge open gap. So if we close that shape
and then fill it in, perfect, we have filled
in the entire shape, not the entire canvas. And now I can simply
go back to my Layers, grab that skirt, and
bring it underneath the cap of the mushroom where it belongs with
the illustration. Alright, so I'm gonna go
ahead and finish filling in the rest of the basic shapes
for this primary mushroom. So new layer, change my
color to this dark indigo. And I'll do the base
of the mushroom. Remember, fill it in entirely so that you
can close that shape. Now I'll go to my layers
and bring that base underneath so that it
stacks really well. The last part of this mushroom, I want to get is this, this bottom part right here under the fold of
the primary top. And last but not least, let's go ahead and fill in the underbelly of
the mushroom head. So I'll go back to my Layers, tap that plus sign
to add a new layer. Go to my color palettes. I went to the underside of this mushroom to be the same color as
the top of the head. Later on, I'm going to fill it in with some
shadows through that texture brush so
that it looks like it's underneath and darker and has a little bit more dimension. But the base color of it, I'll do that same color as what's at the top
of the mushroom. So I have that kind of
darkish purple selected. Go back to my Layers, verify that I'm on
a brand new layer. And what I'm going to do is just have it come
from this direction, swoop in and connect. Remember, when we
fill in those shapes, it's really important that the shape is connected
all the way. Otherwise, the color floods out to the rest of the canvas. If you ever want
to double-check, you can turn off
the visibility of these other shapes and make sure it's connected all the way. This one looks perfect. So I'll go ahead and
pull that Color Fill in. Now I'll go back to my Layers and turn back on
that mushroom head. Perfect. So I have all of my
basic shapes finished. Those only took up
four layers because there's only four basic
shapes of this mushroom. And I also have my
sketch layer down below. This is great because
I think I might be at my layer max or close to it. Let's see. Okay, Can I add one more layer? Yeah. But when I tried to
add more than six, I get this notification:
"Maximum limit of six layers reached." So luckily, I was
able to fill in the shape under the layer
limit, which is perfect. I'll delete that extra
layer that I didn't use. Cool. So at this point, this is what my
canvas looks like. I have my sketch down
here at the very bottom, and then I have my
mushroom divided up into four separate layers. And the reason I wanted
to keep these as four separate layers
so that I can start texturizing them individually
to add some depth and shadow and a little bit more dimension
to this mushroom. So that is what we're gonna
get into in the next video.
7. Infusing Texture: Alright, cool. So now that we have
our basic shapes down, I'm going to show you
how you can use texture to infuse some depth
into your illustration. Alright, so first things first, I'm gonna go over to my Layers. And I think I'll
start the texture to do just this main
mushroom cap right here. With that layer selected, I'm going to tap it once
and hit Alpha Lock. So you'll notice here on
that layer thumbnail, you have this
checkered background now behind whatever you
drew on that layer. That's Procreate's way
of telling you that that layer has an Alpha
Lock applied to it. Which means whatever you draw on that layer will only be drawn on the existing elements within that layer before
you applied the Alpha Lock. So kinda confusing. I'm just going to show
you exactly what I mean. So if I were to
just take any color right now, with my brush, sure, if that looks good, draw on this layer, the only area where it's
actually going to fill in is where I have that shape already established
within that layer. So anything I draw outside of
that shape never shows up. But if I draw it within the
shape, then it's visible. So the way that I
use Alpha Lock is for adding texture
into my artwork. So I want to be able to add some texture only on
the shape itself, not have that splatter
over into the edges. Alright, so two fingers to
undo that little practice. Cool. Alright, so I have
my Alpha Lock added. Again, you can always click
that layer and verify that there's a
checkmark next to Alpha Lock. That means it's applied
and ready to go. Now I'll go to my Brushes. And I'm going to start with
this Dead Subtle 4, which is one of the
Speckle Tone brushes. And you can see what this brush
looks like by tapping it, you'll get a little preview. It's a very, very subtle kind of grainy brush that I use to add depth and texture
into my artwork. So with that brush selected, with my layer selected,
with Alpha Lock applied, I'm going to go over here
to my Palettes. Select the same color as whatever I used for the
cap of that mushroom. And then I'm gonna go
over here into Disk. Actually I'm gonna do Classic. Cool. You have this bottom menu bar
within your color palettes. It's just different ways to get colors that
you're looking for. I'm usually over here
in Palettes, but sometimes I'll dip into
Classic to give me really, really subtle color differences. So in this case, I'm just dragging that
color down slightly so that it's just ever so
darker than the original. If you ever want to go
back to the original, you can tap it down below, and then just bring that circle down a smidge to get it darker
than the original color. Alright, so now what I can do is start infusing some
depth into my mushroom. So I'm just going to draw very, very slightly like this. You can see it on screen here. It's this texture coming
through on the mushroom. Because I'm applying the
texture on this far outer edge, you're only really seeing it here. You're not seeing it on
this side of the mushroom. So I can go back to my Colors, maybe choose an
even deeper purple. And really just kinda
build up that texture on one side of the mushroom that I want to be darker
than the other. So it's really, really subtle, but it's things like
this that can elevate your illustration into a
more professional level. Alright, so I built up a
little bit of depth over here. I think it looks nice. The next thing I want to try
is going back to my Brushes and choosing this Sharpie
Sparse Fill Demo brush. So what this brush looks like
Is a bunch of polka dots. If you use this brush
at a massive level, you get a big splatter of dots. If you use it at a
really small level, it'll be very teeny tiny dots. So what I'm gonna do is
have this brush selected. Go back to my Color Palette. Start with my original
background color, make it slightly lighter. Bring that brush
size up to 100%. And just add some very, very, very sparse speckle tones
coming through with that brush. I think that looks
pretty interesting. You can always
play with the size of your brush over here. If you want very, very
tiny speckle tones, you can do that as well. But I like using,
again two fingers. I like using this brush as an accent filler
with these polka dots. I like using it at the very largest size
I can possibly get. Alright, so that is a sample
for how I add texture. I'm gonna go ahead
and do that for the other shapes that
I've done as well. So we'll go back to my Layers. Let's do the skirt
of the mushroom. I'm going to start with
the Speckle Tone brush, that really subtle shading. Go to my Colors. Choose the color, that's
the skirt anyway, and make it a little bit darker. Now I can start painting in
just a little bit of texture. You can see it here. And shadows within that area. They can make it even
darker. Or maybe, oops. One thing I want to point out, I forgot to turn on Alpha Lock. So all of the shadows I'd been doing have been splattering
to the outside. No worries. It happens from time to time. I'm just going to use
two fingers to undo. Until I got rid of, there we go, all of that shading. Go back to my Layers and don't forget to
turn Alpha Lock on. Now when I add those
shadows, cool, they're only adding to that area
within the layer itself, not outside of that shape. Perfect. So I'm just gonna do a little
bit of dabbling to make the top part a little bit darker and the bottom part a
little bit lighter. I'll do the same thing. I'll use that dot fill. Go back to the original color, make it a little bit lighter. Maybe add a few
dots at the bottom. Cool. Same thing. This is that under lip right
now of the mushroom cap. So I'll tap it.
Turn on Alpha Lock. Go to my Colors. Start with the original. I want to make this one
a lot darker because it's underneath the
cap of that mushroom. Go to my Brushes, choose that Dead Subtle
brush and fill it in like this to really add some
nice depth to this mushroom. Now it really looks like that cap has some
dimension and weight to it and curves around and you see this
bottom shaded area. So this is what I
mean with using texture brushes to give some depth and dimension
into your art work. Alright, same as before. I'm going to use
that Sparse Fill. Make the color a little bit
darker and do a few dots. Cool, I think that looks great. Last but not least, is
the stem of the mushroom. So I'll tap that
layer, hit Alpha Lock, go to my Brushes, start with that Dead
Subtle shading brush, Color Palettes. Start at the original blue. Now this blue is
already really dark. So instead of adding shadow, I'm actually going
to bring that color up to be a little bit lighter. And now I'm going to
add some highlights. So now, here I'll zoom in
so you can see, I'm using that Dead Subtle
brush to make this blue a little bit lighter. And now I'll go to my
Brushes, change it to that Sharpie Sparse Fill. Maybe get it a lot lighter. And maybe just do a
few dots down here. Cool. With this brush, you really
don't need too much. Just a smattering of dots
will usually do the job. But I like having them just
contained to one small area, these little chunks,
I think it's a little bit more interesting. Awesome. So now if I go over
here to my Layers, I can turn off the visibility of that background sketch and
see how this mushroom looks. So this will be the illustration style for all of the mushrooms
and flowers for this piece. We have some
nice dimension happening. We've got some
cool textures with those dots and a really
intriguing color palette. So now that I'm totally
finished with this mushroom, I'm gonna go ahead and flatten
all those shapes together. I no longer need to be able to edit each one individually. I think it looks perfect as is. So I can go ahead grab everything and flatten it
together in one layer. One thing to note here is that I did not flatten my sketch. I still left that as its own individual layer
because I want to be able to delete that when we have our final
illustration finished. The only thing I flattened
was that mushroom itself. The reason I flattened
it is: One, to keep my layers panel a
little bit more organized. And two, because we do have
a layer of restriction here, so that whenever I
have an opportunity to consolidate my layers
like this into just one, I can go ahead and do
that so that I can add more layers later
on the same canvas. Alright, so now that I have that basic mushroom completed, I have the rest of the
illustration to work on. So I'm gonna go
ahead and fill in these other two mushrooms using those exact same steps. So, that is coming up
in the next lesson.
8. Finalizing the Main Motif: At this point, you should have one of your mushrooms finished, and I'm gonna go ahead
and finish the other two on this exact same artboard. So same steps as before. I have a brand new
layer over here. Again, I'm not drawing
on that mushroom layer, and I'm not drawing
on the sketch layer. I'm only drawing on this blank layer that I made
for this second mushroom. So this second mushroom
cap is going to be yellow. So I'll select that over here from my Magic Mimosa palette. I'll go to my Brushes, make sure that that Round
Liner brush is selected. Let's triple check that I'm
on my own individual layer. And I'll go ahead
and get started. I'm just drawing the
cap of the mushroom, making sure that I connect
to that shape all the way so that when I bring
that Color Fill in, it fills in entirely. I'll smooth out this edge
just a little bit. Perfect. Alright, so that is one layer. I'm going to add a new layer
for the bottom of that cap. Oops. Remember if you ever
mess up like this, two fingers to undo. Alright, so I'm just going to
connect this at the bottom. It's hard to see, but
I wanna make sure I connect to that shape entirely. You can always turn off the
visibility above to make sure, and then that way it
fills in entirely. Alright. So I have those as
two separate layers. Time to do this skirt. I'll hit the plus sign
to make a new layer. Go to my Palettes.
And you know what? I think I'm actually
going to use the same yellow as
I used on the cap. I'll just use the shading
later to make it either darker or lighter to make it
stand out a little bit more. Alright, so brand new layer. And I'll draw that skirt in. I want to make
sure that I can hide the layers above
it so that I can connect that shape to
fill it in all the way. Alright, I can put those
back in action now. And last but not least, I'm going to go ahead and do
that stem. Hit that plus sign. Grab my color palettes. Use this indigo. Triple check I'm on a new blank layer
and I'll draw this stem. Cool. So I'll do a little
bit of rearranging. I know I went that stem to be at the very bottom. Awesome. Alright, now, same as before. I'm just gonna go through each
of these individually and turn on Alpha Lock so
that that part is done. And then all I have to do
is work on texturizing. Alright, I will start at
this main guy right here, which is the cap
of the mushroom, which I'm actually
going to bring up to the tip top of the
layers palette, since that overlaps
everything underneath it. All right, I'll
go to my Brushes. Start with Dead Subtle. Go back to my colors. Start with that same yellow
of the mushroom cap, but make it just a little bit darker.
And start filling it in. So I want this left side to be a little bit darker
than the right to stay consistent with the way I treated this original
mushroom over here. It's underneath this
primary mushroom, so there's probably a little
bit of a shadow anyway. Maybe I'll make it even
darker for some areas. Perfect. Again, this is a
really nice and subtle brush, which is one of the
reasons I really like it. You can do very,
very gently build up a gradient and
really add that depth. All right, that's looking great. I'll switch back to
my original yellow. Make it a little bit brighter, and switch to that Sharpie Sparse Fill Speckle Tone. And I'm just gonna
do a smattering of speckles right
there. Perfect. All right, what's next up? I'm going to bring the underside
of that mushroom cap up one layer so that it's
over the skirt itself. Now will go to my Brushes. Choose that Dead Subtle 4. Start with my original yellow. Bring it down to be even darker. Verify that I'm on
the right layer. And I'm going to start
filling this in. Remember, I want
the underside of this cap to be a lot
darker than the top, just to show that depth
and that dimension. It might even make it even darker for some areas
like the corners. Cool. I think that looks great. I'll go to my Speckle Tone. So I'll start with the original. Get a little bit darker, and switch to that Sharpie
Fill and just add a few dots. Alright, one thing I noticed
is I actually need to bring this skirt up one layer. You can grab it and bring it up. Cool. And that way it makes more
sense with the depth. We have the backside of the mushroom cap
behind the skirt, but the front of the mushroom
cap covering the skirt. One thing I want
to point out here is within the skirt layer, I actually got it
a little bit over, which isn't a big deal. I'm just gonna go ahead
and erase part of it. So I'll go to my eraser. And remember, you can choose
whatever eraser you like. I prefer Syrup, which is a Procreate default brush that's under the
"Inking" category. And now I can just erase that part that
came over slightly. Not a big deal, but just a little thing
that can help out. Alright, so I'll go
back to my Brushes. Start with that Dead Subtle 4.
Go to my color palettes. Start with the original, get just a little bit darker. Go to my Layers and make sure that I'm on
that skirt layer. I'm just going to add a very
subtle amount of dimension. You know what, actually
I want to make this a little bit darker because it's blending in with the front of that
mushroom a little bit. So I'm going to actually
be a little bit more dramatic with that
dimension up here. Cool. That makes me think I need
to get a little bit dramatic over here to the underside
of the mushroom, just so that it doesn't blend in with that
skirt right here. So I'll make the
color even darker. Make sure that I'm on
that under fill layer. And I can just paint in a little bit more darkness
like that. Perfect. Alright, I'll switch
to my dotted brush. Go back to my colors. Start with the original. Actually maybe the
original will work here. So I'll go to my skirt. I think that's a little
bit too intense. So I'm gonna make this a
little bit darker. Perfect. All right, and last
but not least, the stem of the mushroom. So I'll go back to my layers. Select that stem,
go to my brushes, work on that Dead
Subtle 4 brush. Choose the original blue. Make it a little bit brighter, and start painting it. And this one's really subtle. So we'll go even lighter. Cool. I'll go grab that dotted brush and try a few dots. Awesome. Alright, two mushrooms
down, one to go. So at this point, I'll
go back to my layers and consolidate that entire second
mushroom into one layer. So now I have my pink mushroom
all on its own layer, the yellow mushroom
all on its own layer. And the sketch is
also its own layer. So I'll get orange
on my palette. Grab that Round Outline brush, go to my Layers panel, and click that plus sign
to add a new layer. And same as before. I'm just gonna go ahead and outline the shapes
and fill them in. Each one on its own
individual layer. Okay, cool. I've been
waiting for this to happen. So I can't finish the stem
because as you can see here, my maximum limit of six
layers has been reached. So what do you do? I'm going to show
you exactly how I handle situations like this when I just need to finish one or two layers within
the illustration. So what I'm gonna do
here is go ahead, texturize this top part of the mushroom and flatten
it into one layer. And that's going to
buy me the room to get that final layer for
the mushroom stem. So I'll go ahead, select each of these. Turn Alpha Lock on. And I'll start with the
top of the mushroom, which I'm actually
going to bring to the top of that grouping. Go to my Brushes, grab that Dead Subtle brush, make it a little bit darker. And add some shadow here. Maybe a little bit darker. Cool. I'll do the same thing, adding some of that darker
shadow to that underbelly. Maybe this one
gets a lot darker. Cool. And last but not least, to the skirt of the mushroom. Anytime you want to go back
to that original color, you can click it right down
here on the palette and it'll jump up here on
that color square. For this one, I'm
actually going to make it a little bit lighter. And just do some light areas
down here at the bottom to give it a nice contrast between
the top of the mushroom. Alright, now I'll switch my
brush to that Dotted Sharpie. Go back to my Layers. I'll go ahead and
start with the skirt. Go to my Colors. Start with the original
and just add a few dots in. It's really subtle. I love that. Alright, I'll grab the
top of the mushroom. Same thing, just a
smattering of dots. And inside, exact same thing. Except I'm going to make
it a little bit darker. Cool. So now that I've
finished the whole top of this mushroom,
I can go ahead, go to my Layers, consolidate all of these
together on their own layer. Remember, that's its own layer. I'm not merging it with
the existing mushrooms. Now, I've bought myself
extra room within my Layers so that I can start a new layer to finish that stem. Alright, so I'll
hit that plus sign. Change my color to that deep indigo. Grab my brushes and go
back to my outline brush. Verify that I'm on a brand new layer and
I'll start filling it in. Perfect. I'm going to
go ahead and grab that guy and put it
underneath the mushroom, tap it once, turn on Alpha Lock, go to my Brushes. Start with this very slight
buildup Speckle Tone and make it a lighter blue. And then I'll switch to that
dot brush and add just a few little smattering
of dots over there. Perfect. Now we can go back to
my Layers and very carefully pinch those two together so that now
they're on their own layer. So at this point, I have all three of my mushrooms completely
finalized, texturized, all on their own layer. So I think it's
looking really nice. And that sketch itself is also on its own layer
down here at the bottom. So one thing I want to
do real quick is add a little bit more visual
intrigue to the top of these mushroom caps just by drawing some little
embellishments. So I'm gonna go ahead and do that on these layers right now, before I move on to
the next segment. With each layer selected, I'm gonna go to my Brush Tool, grab that Round Liner Demo, change my color palette to, let's do that same cream as we're using on
the background. And I'm just going to draw in a few little embellishment
shapes like this. Right on top of
the layer itself. I'm actually going to make
my brush a bit smaller. Cool. Alright, that one looks nice. I'll go to my orange and
draw on that one next. And finally, I'll do
the same on yellow. Cool. So at this point, I have my hero elements
completely finalized. Again, each of these shrooms
are on its own layer. And now it's time
to start filling in some of these other
floral elements. So that's coming up
in the next lesson.
9. Layering: Now that we have our
main motif finalized, it's time to start working on some of those floral elements. So to do that, we're gonna go back
over here to Gallery. Hit "Select", grab that piece, and hit "Duplicate". And hit that X. So in the spirit of
staying very organized, I'm going to tap where it says "Untitled Artwork" and
change this to "Mushrooms". The second one I'm going
to call "Right Flowers". Because, spoiler alert, that is what we're
painting in this lesson. So why did I just duplicate
the canvases like that? So when I work in Procreate, because we have these
limits with layers, I can't just have one giant canvas with a
million layers and groupings. You just can't work
that way in Procreate. So instead, what I do is I'll do segments of
my canvas at a time. And once that's
completely finalized, duplicate it,
flatten everything and then work on top of it. So by doing it that way, I can always go back
to previous canvases. Maybe I want to change
something with that right mushroom or change the
color or remove the texture. It doesn't matter. Whatever
edit I want to make, I now have that flexibility
because I can go back into a previous canvas where I have all of those layers
separated and ready for me. As I work, I'll go through,
duplicate canvases, flatten everything, and start
building on top of that. But if I want to go back
and make changes, I can. And the other big benefit of
working like this is I want every single element of my illustration to be on
its own individual layer. By the time we finish, a lot of it's going to be
flattened and that's fine. We can go back into
these previous canvases, export them, and have those
layers already established. And the reason this is
important is because I do a lot of seamless patterns with the elements that I
draw in Procreate. So I can always go back into
those previous canvases, export them into Photoshop, and have each individual
element on its own layer. I'm not going to be going
into that in this class. I want this class
just to be Procreate. But if you want to learn how
I take individual layers like this and turn them into a seamless pattern in Photoshop, I've got another class for
you called, "Watercolor a Seamless Pattern:
Surface Design in Adobe Photoshop
for Print on-Demand." In that class, it shows
you how to take any sort of rasterized artwork, including watercolor,
including acrylic, including Procreate, and arrange it into
a seamless pattern. So if you want to
learn that later, that class is available. But the whole point
of me explaining this is that's the reason that I
work in canvases like that. I just want to make sure that every element is on its
own layer somewhere, even if it's like
twelve canvases back. Alright, I hope
that makes sense. So at this point, we have a duplicate of that
canvas we just created. I'm going to go
ahead, open that up. Go to my Layers and flatten all those mushrooms
into one layer. So now we have that
mushroom layer. We have the sketch layer, and we have the
background itself. Since these mushrooms are now flattened into
their own layer, if I wanted to move them around, they all come as
a bunch together. I can no longer move them
around individually. So if I ever want to adjust
that placement, again, I can go back into my
Stack and still have the option over here to work
with them individually. So that's the reason
I'm duplicating these canvases and
flattening existing artwork. Alright, I'll go back
to my brand new canvas, which I've named "Right Flowers", because I'm going
to start filling in these flowers over
here to the right. Alright, so I'll go
back to my Layers. Click this plus sign to work
with a new blank layer. So for the sake of simplicity, I'm just going to
keep all of these buds on the same layer. Alright, so I'll go
to my color palettes. Let's see, I think on
my color exploration, I had that lighter pink. I'll go to my brushes
and make sure I'm on my Round Liner brush. Triple check that I'm on a completely new blank layer,
and I'll start drawing. Actually, I'm gonna make my
brush a little bit bigger. And now I'll start drawing. I'm just keeping these
petals pretty abstract. I'm not following my
thumbnail sketch exactly. I can take some creative
liberties here. And again, I want to make
sure that all of these shapes connect entirely so that
when I fill them in, it fills in the entire shape
and not the background. Taking a lot of creative liberty to move away from my thumbnail
sketch a little bit and utilize this extra
space that's over here. Cool. Now I'll just
drag in this Color Fill to fill in all
of these shapes. Alright, so I have my
basic blooms filled out. Let's go ahead and add
some texture to these. So I'll go to my Layers, tap that layer thumbnail, and turn on Alpha Lock. Now I'll go to my Brushes, select Dead Subtle 4.
Go to my color palettes. I'm just going to make
it a little bit darker, to start adding a little bit of variation into these flowers. Maybe on the right side, it gets a little bit lighter. So remember, you can always tap your color palette to reset. Then make it a little bit lighter. Alright, so very, very subtle, but that that's the way I like to add
dimension and depth. Alright, so I have these
blooms pretty much finalized. Let's go ahead and do the stems. I'm going to start a new layer. Change my brush back to
that Round Liner brush. Change my palette to
that dark indigo. Triple check that I'm on a blank layer and start
filling this in as well. So with these flowers, I
think I'm going to have these little caps that
hold them in place. I'm going to grab
these mushrooms, bring it to the
top of the stack. And I want to be
able to see what I'm doing as I draw these stems. I'm actually going to click this "N" that's next to
my mushroom layer. "N" stands for "normal" because
it's a normal blending mode. I'm actually going to grab this opacity and bring it
down to like 50%. And that way, whenever I
draw these stems in, I'll be able to see exactly where
I am behind the mushroom. I'll bring those mushrooms back up to 100% when I'm
finished with this. But right now, it's gonna be
helpful for me to be able to see what's behind
them as I draw. Alright, so I'm definitely
on my stem layer, not on my mushroom layer, not on the flower
petals, but stem itself. Let's start filling it in. Cool. One thing that I don't have in my thumbnail sketch are
leaves for these flowers, but I don't have to follow this thumbnail sketch perfectly. It's up to my own imagination. So even though it's
not in the thumbnail, I think I'm going to
draw some leaves in to just give these flowers a
little bit more interest. And the way that I
want to have my leaves work is have some
leaves overlapping the mushrooms and then
some going behind the mushrooms just to give it some more depth
and interest. And this is where masks
are gonna come in handy, which is what we're
using in this lesson. So first things first, as I draw these leaves in here, I want to think about
what leaves are in front of the mushrooms
and what are behind. Again, I'm on
that stem layer. So maybe one leaf right here comes in front
of the mushroom. So I've drawn that in
and filled it in. Again, we are on our leaf
layer. And maybe another leaf like this one goes
behind the mushroom. We're going to determine
that exact placement when I finalize this layer when
we start using the mask. Right now, just a mental note. Alright, I'll have
another leaf here. I think it'd be kinda
fun to have a leaf that goes over that
moon a little bit. And maybe one right here, that goes behind the
petals themselves. Perfect. I think there's one
more opportunity here. Awesome. Alright, so now that I have my stems and leaves
finished, let's go ahead, tap that layer, throw on an Alpha Lock, and add
some texture to it. I'll start with that
Dead Subtle brush. Go to my palettes, and
make it a lot brighter. And just very gently add some
texture into these areas. I'll grab that dotted brush
and do the same thing. I don't want dots everywhere, just in a few select
places. Cool. Oh, and I realized I
actually forgot to Speckle Tone those dots
for the petals themselves. But since they're still
on their own layer, I can always add those back in. So that's another
benefit of having things separated out
onto their own layers. If you need to go back and
make a few adjustments, it's all still completely separated out from the
rest of the illustration. So you can do so. Alright, so at this point I
have my layers over here. I have my mushroom layer, which I'm gonna go ahead
and bring back up to 100%. I have the leaf
layer right here. And I have the
petals themselves. So now that we've finished the florals over
here to the right, it's time to decide what
overlaps and what underlaps. And this is where I use masks. So right now, everything is determined by the
order of layers. So the mushrooms cover everything because they're
at the top of the stack. The stems themselves come next, and finally, the petals. So what I wanna do is figure out what leaves are
going to go over, what petals might go
under, things like that. One way to do it is to
simply use your eraser tool. So with that layer selected, you could use your eraser
tool and erase out parts of the illustration where you want
things to overlap. The problem with this is
it's destructive editing. By erasing, I'm erasing out part of this mushroom right here so
that this leaf can overlap. But what's happening is I'm
losing this space over there. I can always undo it and be a lot more precise about
exactly how I erase. But it's going to take forever and it's not gonna be perfect. You're always going to get
these little cutouts here. So I'm going to undo that. Instead of erasing, what I
like to do is use layer masks. So you can do the
same thing, erase. But what you can do
with the layer mask is you can also redraw
in those areas. So I'll give you
a quick visual to help you understand
how masks work. This hand is the illustration. This is the mushroom
illustration with all of our beautiful textures
and illustrations. And this hand is the mask. So this is completely covering
the mushroom illustration. If the mask is black, it covers everything underneath. But I can take my scissors
and cut out some areas from this mask and have my underneath illustration
show through. If I want to get rid of
the mask altogether, my illustration is
exactly how I left it. So I can cut away
areas from my mask, I can fill them in. All of these changes are
happening to the mask itself. And this underlying
illustration is staying intact. So this is the reason
why I use masks. I can do a bunch of layering, underlayer, overlayer,
get rid of things. But I'm only doing it
to the mask and I'm preserving that original,
precious illustration. So let's just go ahead and
get into it so you can see a visual on your iPad,
not with my hands. Alright, so the first thing
I wanna do is have this stem of the flower actually
overlap the mushroom itself. Right now, the mushroom
is covering it simply because the
mushroom is at the top of the layers panel. So what I'm going to do is tap
that layer and click Mask. So what this has done, there has been no visual change to the composition whatsoever. But it's added this white
mask on top of the layer. So with Procreate, white basically is a
completely clear mask. But to make it opaque and hide
areas, you paint in with black. So I'll show you what I mean. So first things first, I'm gonna go to my
Brushes and make sure I'm on my
Round Liner brush. Then I'll go to my
color palettes. Procreate is smart. They know that if I
have a mask in place, I'm going to be
painting in with black. Those are the only two
options for a mask. It's either black or white. Black will cut away parts
of your illustration. White will build it back in. This is what I mean. So black is selected right now. If I were to draw it in this, I'm actually cutting
away parts of that mask. My illustration underneath
is perfectly intact. I'm gonna go ahead and
uncover the rest of this stem. If you're looking at this, you think that I just deleted
part of that mushroom. When actually that mushroom
is still perfectly there. It's only the mask
that I've cut it into. What I want to do is make
that whole stem visible. And now I can switch to white. Again, I'm drawing on the mask, not the shape itself. And now I can start to
brush back in that mask. So I'm very, very, very carefully drawing on
the edges to have this. Sometimes it helps to work
with a smaller brush. And what I'm doing is
just going through, I'm filling this in like so. Again, that mushroom underneath
is still perfectly there. The only thing I'm doing
is finessing the mask. Remember, with masks, your two options are
black and white. White will start
covering that mask back up, whereas black will
remove that mask. So at this point, I'm
just going to make sure that I'm on a white color. I'm gonna go through along
the edges of that stem and very carefully paint
that mask back in. Remember, you can change your brush size as
much as you need to. Really fill in these areas. If you ever accidentally
cut too far in like that, you can always switch back to a black brush and
paint it back out. White to cover up
that mask again. Sometimes, I'll switch
to a larger brush to fill up larger areas. And then I'll go
back to a smaller brush to fill in along those edges. Alright, cool. So now, thanks to using a mask, I have part of that
stem overlapping the mushroom and then the other part of the stem
going behind it. You can always go back over here and see that mask in place. So if you turn off the mask, you lose that cutout. But if you turn it back
on, you see it there. Remember, everything
under that mask is still perfectly preserved. You're not erasing
anything, just erasing from
the mask itself. This is why I love using masks. Alright, so let's go through, look for some other opportunities
to have some overlaps. How about right here? We'll have this stem actually coming
up over the skirt of the mushroom. So same thing. Mask is selected. I'm going to switch to, yeah, I'm gonna switch to black. And very roughly find
that entire leaf. And then I can switch
to white and be a little bit more careful
about filling it back in. Cool. Alright, so we have some
overlap, some underlap. Overall, this is giving us a really nice sense of dimension
for this illustration. And now I actually want
to address some overlap, overlap here within the
flowers themselves. I want to have this
leaf behind this petal. So I'll go back
here to my layers. And for this one, I'll make sure that my leaves
and stem layer is selected. Tap it once and
add a mask. Cool. So same thing. Oops, got to remember
to switch to black. Cool. So same thing. I'm just going to paint
those petals back in. I'm not worried too much about the white space on those edges. Cool. And then I'll switch
it back to white. And this time do a much more careful job of
painting back in that leaf. Cool. So just for the fun of it, I'm gonna do the
same thing here. So I'm going to have
this part overlap. No, I'm going to have
this part under lap and this part overlap. So I'll go through, switch back to black, bigger brush, and then switch to white with a smaller brush to get those
edges very carefully done. I think that's actually
looking really nice. I'll go ahead and turn off that sketch so we can get
a better feeling for it. Yeah, this looks really cool. We have some really
nice underlapping areas, some overlapping areas, and it's creating a really
intriguing composition. So I'm going to turn
that thumbnail back on and see what's left. So at this point, I'm gonna go ahead and finish
drawing these florals on this composition using the same techniques that
you've already learned. So let's go ahead
and wrap this up.
10. Final Florals: Time to finish the
rest of these florals. So here's what my illustration
is looking like so far. I'm actually going to
go back to my Gallery. Same thing as before. "Select." Select
those "Right Flowers" and hit "Duplicate". Hit that X. And I'm going to rename
this one, "Left Flowers". And guess what I'm doing next? Left flowers.
Open that one up. Same thing as before. I'm just going to flatten everything on that illustration. That's not the sketch. So now I have all of my flowers and my mushrooms on
one single layer, so they're no longer individual. They all move together.
They're flattened. And I have my sketch layer
also as its own unique layer. So remember, I have
this duplicate saved back in the main Stack. Alright, so same as before, I'll hit that plus sign to
start a brand new layer. Go to my Brushes, make sure that I'm
on my outline brush. So I'm going to switch my color over here to
that darker orange. Verify that I'm on
a new blank layer. And same as before, I'm just going to start by
drawing in these petals. Alright, let's go ahead and add some texture
to these guys. So I will select my layer, hit Alpha Lock, grab that Dead Subtle brush,
go to my Palettes. I'm going to make this
one a little bit lighter. Now I can start painting
in some lighter dimension. Again, it's really subtle, darker area over here,
lighter over here. And let's grab that dot brush. Same thing. Just a smattering of dots, maybe on one edge
of those flowers. Perfect. Alright, I'll go
back to my Layers, starts a new layer by
clicking the plus sign. Go to my Brushes,
back to Outline. And the center of these flowers
are going to be yellow. I think this one has a little
bit of an odd placement. So I'll show you how to move
that around separately. You can go over here
to Select. Freehand looks perfect. I'm just going to grab that yellow part. Go to my pointer tool and move it up a little bit
and maybe resize it. Cool. You can press the arrow to
set that transformation. Alright, I'll go
back to my Layers. Click that layer thumbnail, turn on Alpha Lock and do the
same thing as before. Cool. And at this point, I'm gonna go ahead and flatten
those two together. So now all of the flower
heads are on the same layer. Time for the stems. So we'll hit that plus
sign to get a new layer. Go back to my outline brush
and choose that same indigo. Make sure I'm on that new layer. And let's draw in
those stems. For here, I'm gonna go ahead and do
that same thing and make that top layer a little bit more transparent so I can
see what I'm doing. So I'll click that "N",
and bring it down to just about 50%. Go back
to my new stems layer. And now when I draw, I'll be able to see what's happening behind those
mushroom layers. And same as before, I'm going to add some leaves
to these stems as well. Cool, I think that's
looking great. I'll go ahead and
turn Alpha Lock on. Grab that Dead Subtle brush, and start making some textures. Alright, let's go
back to Layers, and I'm going to click that "N", bring that opacity
back up to 100%. And for this one,
I'm just going to have one little
leaf overlapping. So I want this leaf to be
overlapping that main shroom. So we'll go back to my Layers, tap the mushroom layer. Remember it's back
at a 100% now, you can always tap that "N" to adjust the percentage
of your opacity. And I'll tap that
layer, put on a mask. My brush has automatically changed to black, which is perfect. I want to make sure that
I'm on my outline brush. I'll make my brush
size a lot bigger. Just find out where
that leaf is going. Cool. And now I can switch
to a white brush. Finesse my brush down
to a smaller size. And then carefully, maybe
a little bit bigger, and then carefully
paint that back in. Cool. So just a little bit
of overlap on that one. All right. Now that I have
those left flowers finished, I'm gonna go back to my Gallery. Hit "Select", grab those flowers. Hit "Duplicate". Press X to end the selection. And I'm going to title
this one, "Hibiscus". Alright, I'll open
up my new one. Go to my Layers, flatten everything, but keep that sketch
on its own layer. So we are really
coming along here. We have most of the
illustration finished, just a few more pieces to
fill in at this point. So let's go ahead
and wrap it up. So I'll hit that plus sign
to start a new layer. And I'll start with
my left hibiscus, which is that lighter
pink version. So I'll go to my Brushes, make sure I've got
my outline brush. Change my color palette to pink. Triple check that I'm on a new layer and draw
in my hibiscus. And now it's time to add
some texture to the blob. So I'll go back to my Palettes, select that thumbnail,
put on Alpha Lock. And same thing as before. And at this point it's just
one big textured blob. So I want to be able to define those petals
a little bit more. And I'm going to show
you how I do that. I'm going to grab
my sketch layer, and actually bring it up to the tip top so that I can see where the definition of
those petals is happening. So instead of just
drawing lines on top of the petals to indicate
each individual petal. I'm actually going to be
using a white space technique and have negative space represent the individual petal lines. I'll show you what
I mean. So I have my blob hibiscus layer selected. I'm going to hit my Eraser. Instead of erasing with
Syrup like I normally do, I'm gonna go up
here and erase with the same brush that I'm using as the outline for everything else, which is that Round Liner. Alright, so that
is my new eraser. So now what I can
do is erase out parts of this illustration to indicate where the
petals are themselves. You can always change the size
of your eraser over here, just like you do with
brushes. Alright. So we have this guy
coming in like this and another petal
making its way out. Alright, I'm going to
turn off that sketch. And now it's looking
a lot better. It's looking a lot more like
abstract flower petals. And last but not least,
for this hibiscus, I don't want to forget the most iconic
part of a hibiscus, which are these pistils that
come out from the center. Alright, so I'll go
back to my Layers, start a new layer, go
to my Color Palettes. I'll use the darker
purple. Brushes. I'm on that round brush.
Perfect. Again, I'm on a new blank layer. I'm going to start by replicating that
same abstract blob. Perfect. I'll go ahead and add
some texture to it. Don't forget to
turn on Alpha Lock. Alright, I'm going to
flatten those two together. Like this. Perfect. Start a new layer and now do the pistils that kind of shoot out from the center
of the hibiscus. Alright, I've got
my outline brush. I'm going to change the
color to this darker indigo. Make sure I'm on a new
layer and draw those in. I'm gonna go ahead and turn
off my sketch visibility. It's a little bit distracting. Alright, that's
looking really nice. I'm gonna go ahead and add some texture and then do
the second hibiscus. I'm gonna go ahead and Alpha Lock those pistils and add a little bit of
a texture to it. Cool, very slight. And at this point,
I'm gonna go ahead and flatten my hibiscus, so it is all on its
own layer like this. I'll turn my sketch back on and do my second
hibiscus in yellow. Alright, outline,
brush, yellow color. Click that plus sign to make sure I'm on a brand new layer. And I'll start
outlining the flower. And now same as before, I'm going to define those individual petals
using my eraser. So I'll go to my Brushes. Nope. I'll go to my Eraser. Make sure that I'm on
that Round Liner Demo. Sizing looks fantastic. And this is the layer
I want to be on. I'll just go through and really define those
individual petals. Turn off the sketch so I
can see what I'm doing. Yeah, that looks good. All right, now same as before. I'll add a new layer. Make this one a
little bit darker. Make sure I'm on my
outline brush and I'll do that same kind of
wobbly center area. Alpha Lock that and
add some textures. At this point, it
probably feels like second nature: it's
very methodical. Brushes, layers, color palettes. I'll flatten those two together. Start a new layer
for the pistils. Perfect. Now I can go ahead and merge those pistils with
hibiscus itself. And now we have each
hibiscus on its own layer. I'll go ahead and
turn on my sketch. Awesome, we're almost there. The only things left to do are gonna be these
little detail shrooms and the crescent moon, which I'm saving for last. So first things first, I'll go ahead and finish out these mini mushrooms
by going to Gallery. Select, grab the
"Hibiscus", duplicate it, hit that X, and change
this to "Mini Shrooms". Perfect. I'll open that guy up. Go to my Layers.
Flatten everything that's not the sketch. So now we have the
sketch on its own layer. We have the main illustration
on its own layer. And the background
is here as well. Alright, I'll click
that plus sign to start a new layer and start filling in these
little mini shrooms. So this next part might
be a little bit tedious, but I want to give
each individual mini shroom its
own color palette. So I'm just going to go
through, rinse and repeat that whole process
that I've done for the rest of
the illustrations. So merge all three
of those together. Once shroom done, two more to go. So I'll just rinse and
repeat that same process. And for this one, I'm gonna
go ahead and keep all of these mini mushrooms merged
together on one layer. Perfect. So two down, one to go. Alright, excellent. So I'm gonna go ahead and turn off the visibility
of that sketch. Grab these mini
mushrooms and bring them underneath so that
they're hidden behind the petals
of this hibiscus. Excellent. So we have all of the main components of this
illustration finalized. There's some really
interesting overlaps, underlaps, texture. It's a very beautiful
limited color palette. And at this point, the only thing I have
left to do to complete the composition of
this illustration is that crescent moon. So that's coming up next.
11. Crescent Moon: Time to add that final
motif to our illustration, which is the crescent moon. So same as before, I'm gonna go ahead and
go back to my Gallery. Hit "Select". Grab
the "Mini Shroom" canvas. Hit "Duplicate".
Hit the X. And change the name
of this one to "Moon". Perfect. I can use an emoji. Alright, I'll press "Done". I'll open this one up. Flatten my layers
so that again, I have my sketch
layer all on its own, the illustration
layer all on its own, and that background color
all on its own layer. Alright, so I'll
go ahead and hit that plus sign to
start a new layer. I'm going to turn my
sketch on so I can see. And now I'll go to my Brushes, grab my outliner
brush, color palettes. My moon is going to
be bright yellow. Verify that I'm on
a brand new layer. And this is where we can
use that same trick in Procreate again to
draw a perfect circle. I'm going to draw my best
attempt at a perfect circle. And then keeping my pen
touching the screen, it's now snapped into
a perfect ellipse. But if I put three fingers
down on the screen, it's now snapped to a perfect
circle, which is awesome. So I'm able to expand
and contract it like this because my pen is
still touching the screen. As soon as I let go of my pen and then let
go of my fingers, it's finalized and in place. I can go ahead and
fill it in like that. So we have a full moon, which looks pretty cool, but I want a crescent moon. So I'll show you
how I create that. I'm actually going to go ahead and swipe left on my moon layer. Hit Duplicate. Change this new color to the
same color as my background. Fill it in, go
back to my Layers, make sure it's selected. And now I'm gonna go to
my pointer tool and make it a little bit
smaller and position it in the exact place
where I'd like it to be, where it feels like a very
intriguing crescent moon. Yeah, that actually
feels perfect. I'll go ahead and press the arrow to set
the transformation. But I can't just
finalize it like this, even though it looks good here. What if later on I decide to change that background
color to something else? Now I have a big circle where
the moon is supposed to be. So I'll show you how
to fix for that. I'm going to go into my Layers. Tap my layer once
and hit Select. So now everything in
that layer is selected, which is that circle itself. Now, with that
selection in place, I can go back to my Layers, hide the visibility
of that other circle, select the moon itself, and now go to my Eraser, turn it all the way up. And I can literally erase out the part of the moon that
I don't want anymore, that part of the crescent. Sometimes it might help. Sometimes it might help to switch to a larger eraser brush. I'm gonna go back to my
tried and true default, which is my Syrup brush. Cool. Awesome. That crescent moon
has been erased out. Oops, a little bit more. Okay, cool. Yeah, so
this technique is really nice because
now I'm retaining that same rough edge that I have on all of the other parts
of my illustration. So that just helps it feel a
little bit more consistent. Alright, to go ahead
and end that selection, I'm just going to go
back to my Layers, delete that tinier sphere. You no longer need it. Press your selection to go
ahead and end that selection. And now I have my
perfect crescent moon in my composition. I'm going to go ahead and
turn off that sketch, then grab that moon and
hide it underneath. So now it's at the very
back of this illustration. And last but not least, let's go ahead and
add some texture. So I'll select my moon. Click Alpha Lock. I'll start with my
Dead Subtle brush. Select my yellow a little
bit darker and fill it in. So I think I'm going to
have my moon darker on the bottom and
lighter on the top. Now I'll grab my dot fill. Start with my original,
a little lighter. Oops too much. Just have a few dots at the
top. A few at the bottom. But I'm gonna do a darker color. Perfect. Alright, so at this point
in our illustration, we have everything filled in. If we turn on that sketch layer, we can see that everything
we've sketched out in our thumbnail has now been completed in our
final illustration. So the last step I
take before I call this a finished
composition is adding in some of those fun details
that I mentioned earlier, some dots, Xs, stars,
things like that, that I incorporate
into my other work to give it more of
a magical touch. So that's coming up next.
12. Embellishments: Before I wrap up
this illustration, I want to add one of my
signature touches that I do and some of the artwork I create, especially in Procreate. It's adding embellishments to my piece just to finalize it. So I'll show you how. I'll go back to Gallery. Hit, Select, grab my
crescent moon, hit Duplicate. Press the X and call this
one "Embellishments". Perfect. I'll go ahead and open that up. Go to my Layers, same as before. Flatten everything down
into the same composition, start a new layer. And this is going, oops. And this is going to
be the layer that I add all of my little
embellishments too. So for that, I'm going
to go up to my Brushes, grab my outline brush, and I'll start
with yellow. Alright, so I'm working
on a brand new layer. I'm simply just going to go through and add in some
little detail touches, something I do with most
of my illustrations. Well, a few of them
that I do in Procreate, I just add these little
embellishments throughout. And I feel like it's
a cute little way of adding some magic into my
illustration after the fact. Plus, it gives it a little
bit more visual intrigue. I'm just going through,
slightly smaller brush, drawing some stars, X's, circles, things like that. I don't want it to cover
the entire canvas. Instead, I just want to
have a few clusters. So what I'm doing
now is I'm just starting out where
those clusters will be. Ideally, I'll have a few different color palettes
coming through. So I'll start with yellow. And I like to do one color at a time because
that way I can add the texture to that color all in one go and then start a new
layer with a different color. So it just speeds up the
work process for me. Alright, let's do
one more right here. So these will be all of
the yellow embellishments. I can go into my Layers. Alpha Lock that layer, grab my Dead Subtle brush, and then just go
through and add. You can barely even see it. It's just little dots of
texture coming through. Cool. So pretty simple. I'll
go back to my Layers. Add a new layer, change my brush back to
the outline brush. And let's do this darker
pink. Same thing. I've already established where those groupings are gonna be. So I'm just going
to go into each one and draw a really simple shape. If you're following
along with this, you don't have to do X's and
stars and circles like me. You could come up with
your own shapes as well if you like the idea of
these embellishments. Alright, the layer is done. I'll go ahead, throw
Alpha Lock on there, make it slightly darker. Grab that Speckle Tone brush
and just dab around. Again, very, very subtle. I can go ahead and merge
those two layers together, just to consolidate
my layers a little bit. Start a new one. Let's go back to that indigo. Change my brush and
do the same thing. These are perfectly
imperfect shapes. I'll zoom in so you can see
how that texture looks. It's just that very, very
subtle texture that makes a little bit more dimension to that indigo blue.
Alright, same thing. I'll merge those two together
and I'll just do one more. Instead of orange.
I think I'll do light pink for my
final embellishments. And we'll go ahead and
merge those together. And now I have all of
my embellishments on one layer and my main
illustration on the next. And now our illustration
is 99% complete. The other 1%
is really easy. It's going to be adding
that paper texture and our signature. So let's go ahead and
do our signature first. I'll go to my Layers. Start a new layer. And I think I'll have
my signature be in that same dark indigo using
that same outline brush. Again, the new layer is selected. When it comes to
adding a signature, every artist is different. I usually tuck mine in to
the bottom right corner. So I'm gonna go ahead
and sign "CatCoq". And if you're wondering why
I sign all of my artwork "CatCoq" instead of my full name, which is Cat Coquillette, It's because CatCoq
is my brand name. So if someone were to
purchase this artwork, maybe on a framed art print from Society6 and hang
it in their house, then they can easily see
with my signature, which is very
legible by the way, that CatCoq is the
illustrator for this piece. So they can always Google me and find more of my artwork. So I definitely use
my signature as a way to attract more
clients and more customers. So it's super legible
and it's unique. If you're going to Google
CatCoq, it's only me. Alright, so signature
is in place. Let's go ahead and add
that paper texture. So way back when, early
on in this class, we went ahead and got
that paper texture off of Dropbox and put
it into our iPads. So when you import
JPEGs like this, they don't show up in Procreate. They show up in
your camera roll. What we're going to do
is add it to our canvas. So just like we added
those reference photos, I'm gonna go to that wrench. Not insert a private photo because I want this
one to show up, but insert a photo. If you don't see it right away, you might want to go to "Recents". That's where
mine popped up. And all you have to do is
click that paper texture and it will automatically fill
in your entire art board. I made this paper
texture 24" by 30", which means that perfectly
fits right on your art board, if you are able to get
a canvas that size. Go ahead and press the arrow
to set the transformation. And if you're wondering
why we just covered our entire beautiful illustration
with the paper texture, I'm going to show you why. So first things first, if your paper texture
came in maybe at the very bottom or somewhere in the
middle of your layer stack. Go ahead and drag that
up to the very tip top. Now to have this
texture applied to everything underneath, I'm
going to click that "N". Remember that "N" stands for normal. And I'm gonna change it to a transparency mode that allows it to overlay
everything underneath. My two favorites for
paper texture are either Multiply or Linear Burn. They're both very similar. So I'll zoom in so you
can see what I mean. Alright. So here it is without
the paper texture. So it's a very flat, clearly
digital illustration. But when you turn
on the visibility of that paper texture, it feels a lot more hand
done and professional. So anytime you want to change
that transparency mode, right now it says
"LB" for Linear Burn, you can just tap that
and try a different one. Again, Multiply and Linear Burn are my two favorites for
applying paper texture. Alright, at this point, I can go ahead and swipe left on that sketch and delete
it from my canvas. I no longer need it since I have finished my illustration. So congratulations for
completing this entire process. You have a final bloom and shroom illustration
at this point. But before we end, I want
to show you one more thing, which is my favorite thing
to do with illustrations. It's playing with
different types of color palettes now that we
have our final artwork. So that's coming up
in the next lesson.
13. Color Exploration: Time for my favorite
part of illustrating. It's playing with some
different color palettes after you've
finished your piece. So I'll show you how I do it. First things first,
back to Gallery. Select, grab the
"Embellishments", Duplicate, and press X. So I'm going to call
this one "Magic Mimosa", because that's the name of the color palette I
used in Procreate. Alright, let's go
ahead and open it up. I'm gonna go flatten everything except that paper
texture and background. So now we have our entire
illustration on one layer. Background is all
on its own layer. And that paper texture
is on a separate layer. So when it comes to
exploring color palettes, my favorite place to start is just by changing
the background color. It's really simple, but sometimes it can make
a massive difference. And oftentimes I can use that as a totally separate design
from the original. So just like that, I have two illustrations
instead of one just by changing
the background color. So let's try that out first. I'll go ahead and tap where
it says "Background Color". Let's try some other options. If I use any of the background
colors from this palette, that means certain
elements might get lost. So instead, I might try pulling from some of
these other palettes. That's kinda cool with a
bright cyan background. So I'm just going through, trying out different
color palettes, seen if any of them work
better than others. I really like this mint. Oh no. Okay, well, this is the winner. This really nice teal
turquoise background color, I think looks really nice
with this illustration. So right here, I've
gone ahead and created a totally separate color palette just by changing the
background color. So what I'm gonna do is
call this one finished. I'll go back to my Gallery. Select, grab "Magic Mimosa",
duplicate it, hit that X and change it to, let's call this one "Teal". Cool. I'll go back to "Magic Mimosa". Go back to my background
and change it back to the original,
wherever you were. Magical Mimosa, your original
of where it was before. Cool. So now in my Gallery here, I have two separate
color palettes. I have "Magic Mimosa"
and I have "Teal". Let's go ahead and
try another one. So I'll go to Select,
grab that original, hits Duplicate, and pull it to the very end of my Stack
so that I stay in order. Alright, let's open this
one up. The last color exploration was really simple. All we did was change the
background color. For this one, I'm also going to keep it really simple just by making
one tool adjustment, but it's going to make a total difference to this entire piece. I'll show you what I mean.
Alright, I'll go to my Layers. Make sure that my artwork
layer is selected. And I'm gonna go up here
to my magic wand tool which represents adjustments and go
down here to Gradient Map. So this is one of my
favorite tools in Procreate. You can go through this
gradient library and try out different gradient maps to see how they work with
your illustration. Venice is super cool. Okay, so noted, I might
move forward with that one. Blaze looks nice. Gradient. Neon. That's pretty awesome. I love that gradient
in the moon itself. Yeah. So basically you can go through and try out different
gradient maps. And it just gives you
a really quick idea of what different colors can look like for your illustration. I think the one I'm
going to move forward with though is Venice. I really like how
this is turning out. These kind of melon peach
tones against this indigo. Alright, so I'll
go ahead and tap my magic wand to
set that selection. Just like that, I have a completely different color
palette from the original. Now, we want to play with some different background
colors as well. So earlier I showed you how
to change the background by tapping the thumbnail
next to "Background Color". I'm going to show you a
different way that you can do the exact same thing,
just to have it in mind. So I'm gonna go ahead and
click this plus sign, add a new blank layer, click it and drag it so it's the very
bottom of my stack, just above the "Background Color". Now, I'll just grab any
arbitrary color and fill it in. Honestly, that could be finalized because
that looks awesome, but that's not what
I want to show you. So with that fill
layer selected, you can go up here to
your magic wand tool, which opens up Adjustments. Hue, Saturation, and Brightness. This is a really good
opportunity to see in real-time what color differences could look like in Procreate. If I just want to see a lot
of options all at once with really subtle changes to the saturation or the brightness or lightness or the hue itself, Hue and Saturation is my
favorite tool to use. I like this blue
coming through. Maybe I'll make it a
little bit less saturated. Nope, bring that saturation up. Yeah, I think this is
looking really nice. So Hue and Saturation
and Brightness allows you to fine-tune color adjustments
that you want to make. So this is the other way that I determine background colors. Once you're happy
with the selection, you can hit your magic wand. And now we have a brand
new color palette finalized on our screen. I'll go back to my Gallery
and I'm going to call this one "Indigo Peach". Perfect. Now I'll show you one
more trick I use for playing with color palettes
in my final illustrations. So I'll go to Select, go back to that
original palette. By the way, when I
adjust palettes, I usually start with the
original and work from there. Alright, so that original
palette is selected. I'll hit Duplicate,
press that X, grab it and put it
at the very end of the stack, just so everything
stays in order. I'll open it up,
go into my Layers. And this time I'm going to play with Hue and Saturation again, but not with the background, but with the illustration itself. So with that layer selected, I can go to my Adjustments, Hue, Saturation and Brightness
and do that same thing. So I can scrub along this hue spectrum
to see some really, really cool palette options. You can do the same thing here. Completely desaturated, completely wild
and oversaturated. Actually for this motif
of mushrooms and flowers, super bright actually
works pretty well. But I liked what was
going on over here with these kind of green
and blue mushrooms. And I'm going to bring that
saturation down a bit. So it feels a little
bit more sophisticated. So 25, it looks great. Go ahead and tap that
adjustment to close the window. And now I'm gonna make one
more fine tuned adjustment to the color tonality of
these mushrooms and flowers. We'll go back to
my Adjustments and this time choose Color Balance. This is the other way
that I like to explore colors in final illustrations. So before I start messing
with these scrubbers, we're gonna go over here and choose what I want to focus on, Shadows, Midtones,
or Highlights. For this one, I think
I'm going to try out Shadows and see what I get. Alright, so let's see what
happens if I bring up the red. Cool. So this is only affecting
the darkest area of the illustration because
I selected shadows. So I do like what's happening when I bring it a
little bit more cyan. Let's see, green versus magenta. I'm going to keep that
one about in the middle. Let's try yellow versus blue. Okay, this is cool. I'm going to skew it a
little bit more towards blue so that I don't have
those yellow undertones. Awesome. You can do the same thing
playing with midtones. Oh, that's awesome. This is the best thing
about color adjustments. You can really have a lot of fun exploring and come up with new colors that you
weren't even really planning on putting
together in a palette. Alright, so that's really cool. I'm going to stop
getting super excited. I think this color
balance is really adding that little final touch that you couldn't quite get with
Hue and Saturation. It's a little bit more
nuanced and you get some really playful
color interactions. So at this point, I'm going
to go back and change the background color and
finalize this last palette. Alright, I'll go
back to my layers, and let's see how some different background colors look here. I'm just going to toggle through actually that plain
white I think is really nice. But let's see some others. Ugh, no. Purple, It's a little
bit too crazy. So one thing I'm liking about this original palette is the
harmony of these colors. They're all very cool. They're not super saturated. They're not too
overpowering either. I think it's really nice. I can't go too dark with these background colors because then we're losing the
leaves and stems. So I think I'm going
to trust my gut and stay with this
very stark white. I think that looks really nice. Alright, so that is our
final color palette. We'll go back to my Gallery and real quick change the
name of this one to... Let's call it "Mint". Perfect. So at this point, feel free to continue
duplicating your canvases and continue exploring colors
to your heart's content. For every single one of
my final illustrations, I typically have anywhere from five to a dozen
different color palettes just out of that
one single design. And I cannot wait to
see what you create, not just your illustration and
the direction you take it, but all of the different color palettes that you make as well. Which brings me to
our next lesson, which is talking about your
class project for today.
14. Next Steps: So first of all, huge congrats on completing your Blooms and Shrooms
illustration in Procreate! I learned Procreate myself
a few years ago and I know how daunting it can be
to dive into a new program. But you are now
miles ahead in terms of understanding the app and some of the cool
things you can do. And I am super excited to see what you drew
in today's class! Under this class, you'll see
the Student Project Gallery. It's under the "Projects
and Resources" tab. So please, please, please
share your project here. And just a heads up. The best way to
share your project is simply by taking a
screenshot in Procreate. We worked on a pretty
giant canvas today, so if you were to save
these as JPEGs, those files would be too big to upload. Screenshots
straight from Procreate work great for Skillshare. So here's how to
share your work. On the right, you'll see a green button that
says "Create Project". Tap that. Once you're there,
you'll have the option to upload a cover photo, add a title, and write
a little description. You can include both
text and images here. And I would love to
see your progress too. So feel free to snap some screenshots
showing your sketch, color studies and
your final piece plus the alternate colorways. Once your project is uploaded, it will appear in the
Student Projects Gallery. You can view other projects here. And I encourage you to like and comment on
each other's work. If you decide to share
your project on Instagram, please tag me @catcoq and
Skillshare @skillshare, so we can like and comment
on your work there too. And bonus: From time to time, I decide to highlight student work in my
email newsletters. So there is always a chance that your project could get
featured there as well. Speaking of emails,
if you want to get an email heads up as soon
as I launch my next class, please click the
Follow button up top to follow me on Skillshare. Not only will you be
the first to know as soon as my next
class comes out, but I also send out messages to my followers and they're
packed with useful tips, freebies and artist resources, and the occasional free
Skillshare membership giveaway. These perks are for my
Skillshare followers only. You can also follow me on
Instagram to see new artwork I'm creating, new product partnerships and where in the world I'm living
at the moment. Right now, I am in an
Airbnb in Lisbon, Portugal. Last month, I was hosting a watercolor retreat
and the south of Spain. And my next two destinations
are Germany and Switzerland. I've been living
out of a suitcase for the last six years, so life is a complete adventure. And last thing for today:
Throughout the class, I mentioned a few other
Skillshare classes that I teach that go into more detail about some of the things
you learned today. If you want to learn how to take this illustration
to the next level and turn all of those
individual elements into a seamless pattern, I have two different
classes available. One in Procreate and
the other in Photoshop. Or Procreate pattern
class is called "Drawing Seamless Patterns in Procreate Plus Professional
Surface Design Tips". And that is another
beginner-level class. So if you made it
through this class, you'll be able to make it
through that one just fine. My other seamless patterns
class is in Photoshop. It's called, "Watercolor a
Seamless Pattern: Surface Design in Adobe
Photoshop for Print-on-Demand". If you want to use your
blooms and shrooms elements from this class, you can skip ahead in that
class to the second portion, which is arranging those
individual elements into patterns using Photoshop's,
Pattern Preview tool. The end of that class even
shows you how you can upload your designs to print-on-demand sites like Society6
and Redbubble, so you can start earning
income from your artwork. I have a handful of other Procreate classes that you might be interested in as well. "Draw Animals in
Procreate Plus Tips for Art Licensing Sales" is
exactly what it sounds like. You'll learn step-by-step
how to create your very own animal
illustration in Procreate, plus learn my best tips
for monetizing your designs, all peppered
throughout the class. "Draw your Dream Home in
Procreate" is another favorite. You'll learn how to trace
photos to create your very own dream home design. This class makes a great gift if a friend or family member recently moved and
you want to create a custom illustration
for their new home. Alright, if you enjoyed
my class today, please leave a review, even if it's short and sweet. I really love reading
through all of these reviews to learn what
you thought about my class. These reviews also help my classes get more traction
here on Skillshare. So thank you in advance. You guys are awesome. Alright, so that is
a wrap for today. Thank you so much
for joining me for this funky Bloom
and Shroom journey. I'm looking forward to
seeing your creations, so have a wonderful day and I'll see you
in my next class.
Cat Coquillette, Artist + Entrepreneur + Educator
