Transcripts
1. Introduction: hi and welcome. My name is, he thought. I'm an artist and illustrator. I love to incorporate textures in my illustrations that makes them feel like they have been drawn. Wave watercolors. I've illustrated picture books, home decor and posters, T shirts and phone cases. In this class, we learned to paint vibrant watercolor textures. I think this technique really hopes Create Warren and interesting illustrations, and I'd love to share it with You will be painting leaves and flowers in layered brushwork . I will walk you through the process with easy to follow steps, cover pencil pressure, working with layers and drawing with mosques. We learn to transform ed. Eight Are illustration in a smooth workflow. Finally, we'll add text and bring all the elements together. It's a comprehensive and fun class geared for beginners and intermediate artists. By the end of this class, you know how to draw in from create from start to finish and you'll be able to carry this knowledge to your next project. I'd love for you to join me in this class. Let's get started
2. Setting Up and Drawing Stems: before we begin, let's take 30 seconds to set up our converse. We'll set Converse dimensions to 9/11 inch. As a general rule, 72 1 50 pixels per inch is low resolution and work well for sketching. Since we are going to use our illustration for print, I recommend setting the Converse dimensions to 11/14 inches. And for the high resolution off 300 d p. I give a name to each canvas set up. I call this one full color. Okay, lets start drawing. Let's grab a six B pencil and make a quick sketch off the flowers and stands. We want to draw a few lines like 3 to 4 will be enough for the stems and just mark. Very generally the shape off the flowers. It's a very loose sketch, so try not to overwork it. At this stage, the six B pencil draws soft lines that are easy to follow later, when we want to paint. It's also extremely enjoyable to draw with. We'll name this layer sketch and make sure we lock it so that we won't accidentally paint on the sketch for drawing the stems. I'd recommend picking a brush from the calligraphy menu because, unlike the inking brushes, calligraphy brushes will help achieve a smooth and steady line. The monoline is a great line brush. If you want to draw a line that has consistent thickness, it's not set up to change when we tell the pencil. But if we want a line that has diverse sickness to it, we should be looking elsewhere. The chalk brushes beautiful, but it's also heavily textured, and I'm looking for a plane brush. So let's look at the brush been. It would be an excellent choice for the flower stems and petals. It's moved non textured brush and highly responsive to stylists. Pressure and tilled. You will get heavier lines by pressing the pencil on the converse as you drove. So go ahead and take the brush and dry it and make us few lines. See how you like it. See how its response to your pressure change and your pant ill. You're very welcome to download my smooth brush. Been from the class. Resource is, it's heavier than the brush bend and is my brush off choice for drawing the flowers and stands. So go ahead and dry for your brushes and make your choice because we're going to draw. Next. Let's bring back our sketch and drove the stamps on a new layer in neutral color. Try to change the pressure off your pencil as you draw. If you don't like your lines, you can always go back and redo it. We're going to grow the flowers next, but before we do that, let's take a few moments to talk about how to choose the colors you love and setting a personal color palette.
3. Creating Color Palettes: way can create different color palettes to set a mood for our artwork. Color palettes can be vibrant or muted, saturated or monochromatic, cold or warm. Picking the perfect color palette can be a bit overwhelming as there are so many colors to choose from. Let's break down this process. Way will start by adding a new color palette. Head over to the color wheel and try out various color samples. Start with the color you love. Placing a cool purple next to a warm purple helps me pick the one that I like better. Our goal is to find 4 to 5 main colors for our palates. Then we'll add variations off those colors that we chose. Colors play together. They work relatively to one another, so we want to place a few samples on the canvas and see which ones we'd like to keep. As a general rule, try to be colors from the center off the color wheel. These are the muted tones, and they'd work well together. Picking from the top right perimeter off the wheel will give you bright saturated colors. We can find the lighter shades at the left side, off the color wheel depending on our main selection off color on the wheel. Colors can be cool over warm. If the main green I'm working with is closer to the blues, it will appear cooler than if migraine is closer to the yellows. I think colors should speak to you. Make a personal choice of colors. You will enjoy ills. Trading with your palate can be vibrant with yellows, oranges and reds. It can be monochromatic choice with variations of one color. You can also set the muted palette or create an energetic mix off bright and soft colors. Now that we chose a few colors on her converse, let's set them up in our palates to set a color on the palate. Tap it in place. Start with a calorie love and build around it. It will help your workflow. If a this point you pick darker and lighter versions off each color. Just stop them in place to set them up. I'll be working with the palate off warm greens, blues and purples, but I need a brown as well. I placed two choices of brown on my parent, and now I can choose between them. We can drag a color around or remove it by pressing on the color swatch and deleting it. We can also set up a background color on her palate. Go to the layer menu to change the Converse background color. It could be either dark or light Connor. Play with it a little until you find the one that you like. Be sure that the colors pop up against the background colors on the converse. Now that our colors are all decided, let's move on to drawing some flowers.
4. Painting 1 :: Flowers: Let's invite vibrant colors in as we start painting are flowers. All right, so we're ready to start throwing the flowers and let's bring our calligraphy brush home. We're gonna use the same process to use for drawing the stamps. So usually our first try withdrawing will be pretty much during what you used to do a paper . But when we door on the I bet we can scale it up bits. So that's friggin kind of the chubbier brush. We're gonna scale up our calligraphy brush and draw the big past breast drugs. I think these air very satisfying flowers to drone. They're so fun to pain, they're very smooth and fairly simple. But as I'm working, I'm trying not to over crowd this layer because I'm gonna add another one on top. So I'm drawing five pittle flowers and three pittle flowers just to kind of diversify my shapes. And I'm intentionally leaving gaps in between those flowers. All right, so I'm gonna add a new layer and pick a lighter shade off the purple for my next batch of flowers as I paint trying to paint between the flowers off my under layer and slightly overlapping so that I'm adding but not completely covering the bottom layer are making sure the two layers play well together as I draw and again here on drawing flowers that have between 3 to 5 petals in the same way I date with the other layer. Next, we're going to bring in a new layer for more flowers, and we're choosing a new color and starting to paying robust job be adults. What we're trying to do here is at color and create a sense of movement with these fund ALTs. So when I'm drawing these dots, I'm trying to move lightly over the canvas. I'm changing the position off my pencil, working on one area and then moving to the next and going back to the first area off my converse. I'm trying to keep my hand gestures really loose, and I'm changing the pressure. I'm applying on the pencil as I draw to create heavy dots and smaller adults. So on impressing, I got these heavy dots, and when I'm just tapping lightly with a pencil, I get this smaller adults. It's now I'm gonna follow with a lighter shade of dots on top off the ones that have already drawn and again here. I'm working very, very loosely. I'm not trying to really cover each and every dealt with the lighter center. I'm trying to make them sometimes overlap and sometimes just spread them around to add even more movement and kind of make these adults even more dynamic. So again, here, when you drove, try to drove very likely and move the pencil around. Try to make your hand jesters really loose and change the pressure. You're applying on the pencil to draw heavy dogs and top lightly to draw smaller dots. When I'm done, I'm going to drag the dot layer underneath mice lower layer. And now we're ready for our next stage, which is to text shares using clipping mosques. I'm going to bring in my background color and we're ready to go.
5. Watercolors with Clipping Masks: your true. Okay, so we're ready to bringing some textures when we working with watercolor texture. We want work very, very loosely and kind of push the texture in with the pencil. So let me show you how it's done. I'm working on a new layer and I already said it up to clicking musk and we're gonna texture to the to the purple flowers. Now I have chosen the blush brush. It's a wonderful brush and I use it developed for watercolor textures. So we're not gonna set up a paucity. We're just gonna use the pressure off the pencil to push the the texture in. And I keep saying emotional. Sure, you were in a minute. Um, so let's set up a color that a slightly lighter than the been the color off the flower. See, it's not working with our purple. I just chose the one shake up. Yeah, let's see how it's done. So you don't want your parts to be too big. Are you kind of working from outside this lower? Okay, if you don't like it, can always double tap. Take it back. Where should so I'm not really coloring inside the flower. I'm coming from outside the flower with then and pushing it in, and I'll give you a closer look on the let's head over to the layer menu and other new layer will place it right above our flowers, top on the layer to reveal additional options and choose clipping mask. Next, we're gonna pick a color for the texture. I'm choosing a lighter shade of the color I used for the flowers because I'm going to add light with the texture I'll be drawing with a gosh brush that is pre setting procreate. It's a great brush and really one of my favorite to paint with as I draw hydro very lightly , pushing the texture end from the top of the flower, trying not to completely cover the flower. If I do, I can always top with two fingers to undo. When you paint the texture you want the brush touches to be visible and slightly layered, making age breast stroke count. So were carefully and lightly and odd watercolors and very, very gently. I'm painting over all the flowers, working very loosely in gentle breast strokes, kind of tapping and pushing the water colors in. You can later check or uncheck the clipping mask layer to see how it adds texture to the flowers. But now we're going to add a different type of tank shirt, the flowers. So let's bring in the top layer in other never texture earlier on top and set it as a clipping mask for the texture. I'm choosing the lightest trade of purple, which I use for the flowers I'll be drawing with my noise distress brush. You can also use the bonobo choke brush or the gold rush as your texture brush. And once again, I'm working very loosely in gentle breast strokes. I'm tapping and pushing in the noise texture, making sure to keep my brush strokes fresh. Making age brushstroke count As I work carefully and gently to bring in the texture, the one sent out of the texture to all the flowers, I'm going to use their reduction method. Teoh. Uncover the flower petals. We can set the reserve to any brush from the brush menu. It could be textured, soft, sharp, depending on the effect we're trying to achieve, and that allows consistency with our brushwork. I'm going to set it on the same brasher used for painting the flowers. Now I can draw with my racer. In this reduction technique, I'm painting flower petals by deleting their shape rather than drawing them in using clipping mask for applying. The texture allows making changers to the layer without damaging other elements off my illustration. I can marriage my texture earlier with flower layer to a safe space, and we'll see how to do that later on. We're almost done painting the flowers, so let's on finishing touches with big more details well scaled down our brush. Andro Poland Dots. I'm simply color from the convents and painting darker ball adults. I think it makes illustration more playful. Now I can draw easy and fun adults, or I can add details to the flowers that are a bit more interesting. And in that way I created design that is slightly more intricate. So when you get to this part of your illustration, here is where you decide what type of details you'd like to draw, and remember that we're not trying to achieve botanical accuracy, but we do want to add character to the flowers. Once again, I'm sampling color from the converse. I do that by pressing on the spot and picking the color that I want to draw with next. I love how these flowers came together and I want to paint in more leaves and arrange them with my flowers. So let's try to be organized and safely. Airspace as not all devices allow numerous layers like the iPod broke, I've merged a texture layer down since I I will not work with them separately for their own . Then I'm grouping all the layers consisting the flowers, flowers and stands in one group and I'm gonna name it Flower one. Later on, we'll be duplicated this group into flour two and three and build up our design so our flowers already way can go on and draw leaves next.
6. Painting 2 :: Leaf in Alpha Lock: We're going to draw a water color, texture details, and then we're going to duplicate. People are believed to create a small plan, so let's get started. When drawing a leave, we can take any shape that we like. I'm drawing a heart shaped reef, but if you want to control kind of delegated War of Plain Lee's much like us here right where they relieve you want river shape works for you. It's fine. So we got our liberty and we can paint it. You can painted by feeling off the space pretty much you do on paper, but a quicker way to color will be to drop a color swatch in, Let me show you. So now we have, ah, plainly colored leaf, and we're ready to add texture to it. So let's work with a different method. This time around, I used two fingers gesture and swipe the layer to the right. In the smaller window. The background is now checkered. It indicates the mosque is active, and if I tap on the layer, I can see that in the drop down menu. The layer is now Alfa locked. Awful. OG is a mask that works directly on the layer. It's a blind on unlike clipping mask that's applied on a separate layer. I use it a lot as it's a quicker way to draw if I want to later edit and change my mask clear. That's when I'll choose to paint on the clipping mask. Also working in Alfa logs save you layers and in some devices that you are very limited to the number off layers you can use on a campus. So now I can take my color. It will be a lighter shade of the leaf, and again I'm painting with a gosh brush, working very loosely and gently and gradually adding darker shades. I would like for you to think about painting with the pencil or stylus. If you're drawing on another tablet, the technique that I'm using here would work pretty much the same, even on paper. So think about an actual brush with water and diluted water colors when you paint on your tablet, so we want to apply the paint very lightly, layering one brushwork over the other. If I press on the pencil, it will paint heavily on the leaf. So what I'm doing is finding just the right amount of pressure as we're working now on a larger surface, our brushwork is more significant than when we colored are flowers. I'm looking to see brushwork that is light. I want to create darker shading at the base of relief and at its ending, and maybe leave some lighter spots where the leaf kind of bends upwards towards the light. So think about all that when you practice your leaves and try and try again until it comes out. Just rights. Next. I want to add details in a fine brush. Let's speak the brush ban, scale it down, and we can even lower the A positive e so that the texture on the leaf would show through the lines we drop. And I'm just painting all these wonderful lines you'd see on the leaf. I'm not trying to be botanically accurate. You can use the reference photo if you're trying to achieve that life. Like Luke, I like to ally myself some artistic freedom. When I'm done, I'm going to marriage. The leaf layer with the line layer as what we're about to do next is transformed and duplicate, or leaf to create a small plants
7. Transforming, Duplicating and Editing: Do you know those street hustlers who quickly move a coin under three cups while the crowd is trying to follow and guess under which cop the coin has landed well, follow closely. As one leaf transforms into a small plant, I'm going to duplicate my leaf. And from the adjustment menu, I'm choosing the youth situation. Brightness editor, slighting the brightness bar to the left, changes the leaf to darker shades next time, tapping their transform toe. I can rotate the leaf with a little green handle at the top off the selected area and then teach the leaf with two fingers to scale it down. I'll continue to edit the original leaf duplicate and transform the new layer, then added its colors. This time, let's get it to half his dark, as we did before. I'm going to drag this leave all the way under my original leath because I would like for it to seem like it's shaded. While the original leaf appears closer to the light source as I use the transform tool to rotate my leaf, I can reposition the live with one finger or the pencil, and this will not affect its size or I can use two fingers, touch and peach to reshape and reposition the leaf in a free form. Something to keep in mind is that you can scale down the leaf but never scale it up. If you want a larger leaf, I'd suggest you drawing you and bigger one, because killing it up will lose resolution and appear pixelated in their transformed to we have options. In the second row, we can rotate an image in 45 degrees segments or flip it. I'm going to flip it horizontally and rotated to create a slight version off itself. I'm using the pencil to reposition the leaf as I want to keep it size. I want my darkest leave to appear at the bottom off this small plant that I'm creating. So I continue to duplicate and added new leaves in the same way as before. And at the end I will have three distinctive types of shading light, intermediate and dark. But the top mostly is darker because I would like for it to stand out, and that's an artistic choice. Here is a quick tip. You can tap and select a layer directly on the converse for a quicker workflow, and this is a gesture that I use a lot as I work. You can always pick a layer from the layer menu, but this way is much quicker. Okay, so we're going to select all the leaf layers now by sliding right on each layer and then grouping them together. But upon the new group and rename its I'm going to name this group leaves one. Next. Let's create another stack off leaves from our original leaf duplicating and dragging the originally until it's out off group leaves. One. Then I can collapse the group and continue editing the new leaf just like it did before. I'm going through the same workflow, duplicating an editing Vishnu leaf so my bigger plant can have between 5 to 7 leaves in lighter to darker shades, and the smaller plant that I'm creating now can be about four or three leaves altogether. - Now I can are changing to each leaf kind of do a quick final edits to these small plants. I'm painting with the gosh brush darker shades at the base of each leave, and for a quick workflow, I'm tapping on the leaf to activate its layer and then paint. I'm also selecting colors directly from the canvases I thanked. And again, this is part of my work flow, and I hope you'll find this helpful, pick it up and start using it with your work. So this was a great process to know, and I tried to highlight all the important steps of transforming, duplicating and editing. And so that's quickly group the new leaves and name. The group leaves, too. We can also duplicate the whole group by sliding left on the group player and give the group and you name leaves. Three finally will bring back our flowers, and next we're going to paint a big tropical lease in reaching vibrant watercolors.
8. Quick Tip : Work Around Limited Layer Count: While we keep drawing and adding more elements to our illustration, I'm guessing that by now many of you have reached the limit of layers you can add to the canvas. Let's see how we can work around this. First. Let's drug out the top, mostly from each leaf group, then go ahead and choose flattened from the group menu. That would give us a single layer with one image instead off 4 to 6 layers for each leaf group. I left up the top leaves because I later on will place the text between the leaves. But there is no reason for the small leaves at the top to be separated and have a single layer for each one than so they can be sharing a single layer. Let's merge down the layers until all the sleeves are in there. Now we're down to four planes. Way can go ahead and flatten the flower group as well. That's it. Now we ready to draw the tropical reef and we have many more layers, dispirit
9. Painting 3 :: Tropical Leaf Split Screen Sketching: now that there are leaves are already we can go ahead and draw our big tropical leaves, and I'll be drawing on sterile and showing you how to draw it from sketch. Continue with our water color textures. But for this big leaf, we're gonna really bring in a lot more textures and shades and some more details. Let's begin by adding a new layer to sketch Charlie. I'm calling this one big leaf and working with the iPad makes searching while painting very easy and quick for research purposes, Google Search is super helpful. Searching up Big tropically photo can heal just about the right results. Way can look for banana leaf or pound leaf would make a nice choice as well. I'm going to draw him on sterile that I already saved on my iPad. Sliding up from the bottom off the screen will reveal the iPad dock Press and hold while sliding across the screen until the display splits up to share both. Perhaps you can push the slider aside to adjust the view. I like seeing more of my converse, so I'm going to give it about 2/3 of the screen. Now let's grab a pencil. My love's catching with chubby six b in procreate, and so I'm outlining the shape on the canvas, and then I'm starting to get morning to the details. I really want to sketch all the interesting structures of believe in the months Terra. These would be all those split edges and homes. Okay, when you're down, sketching simply grabbed the handle in the middle of the split screen and drag it a sign. Now let's add another layer for coloring belief. It's a good practice to lock the sketch before moving on to coloring. You don't want to make the mistake of coloring on your sketch and, you know, figuring this out midway through. So I'm drawing the leaf outline with a brush pan in the same way as I did with a small party belief. I can cover the complete shaped by simply dropping color into it, and I'm ready to start sticking Connors and textures next
10. Vibrant Watercolor Textures and Shading: So Miley Flair is in Alfa Lock, and I'm going to pick a darker shade from my color palette. Next, let's get a good texture, A brush I love working with a jagged brush. It's a preset brush from the painting menu. I'm going to paint very loosely and quickly. I'm trying to get the sense off the shape I'm painting. I would like for you to know that it takes time to warm up the hand so you may take a while to feel like you know what you're doing when you paint. But don't worry about it. Just trust your hand that it knows where it's going and keep painting. It's going to make sense as you paint, so we're building on the work with it, first with the flowers and then with a small leaf painting watercolor textures on a larger , more detailed element. This time, let's pick a darker color. What I want to see is a layer texture, and I want also to create shading on the leaf as I paints to give it depth and build volume . I'm working all over the leaf. I'm not just painting on one spot and then going to the next one. My hand is all over the leaf because you want your brush Teoh kind of bounce and dance all around your elements. You don't want to overwork one spot. Now I can go back to the gosh brush when I want to to make the texture look smoother because the gosh is more of a uniformed brush. And then again, I'm not covering my previous of rush work as a paint. I used the gosh to create a unified look much like with real water colors. When I apply a deluded Walsh over my painting, I keep layering brushwork as I paint. Going back to the drug brush will add visible texture to my illustration, and I like that rough look. Still, it all needs to come together at the end. So while I want my brush work to show through at the same time, I wanted to blend in. It's a fine balance to create highlights. I can peek a completely different color than the lighter shade of my life. My life, his green birthed a pale blue, works nicely for that purpose and Popes against the greens of relief. With my brush work, I create stains off Connor rather than try to achieve a smooth surface. And I alternate between the gosh and the jagged brush. As I work, - I'm going to refer to my sketch for a moment to assess where the leaf lines should be next. Then I'm setting the calligraphy brush band too low, a passivity and lighter green as I start drawing the lines. Similarly toothy illustration. Work I did with the flowers pollen dots. I'm drawing the lines freely, minding darker colors as I go. I want the colors off the lines to be a little uneven and even shaky to give illustration a warmer look. I mean, think about drawing with a marker or with a pencil. Sometimes you kind of person them. Sometimes your hand is not perfect, and this is the appearance I'm trying to achieve here, and then this is really my illustrations done. In my opinion, it's nicer when it's not trying to be perfect and smooth. Let's refer to this catch again and will peak the eraser and start deleting those beautiful holes that are so much character to them on Stay relief. So while do have my sketch to guide me, my work is now slightly different than the original sketch. So I'm going to erase the holes when they actually needs to be deleted. And I think it's looking really nice so far and at this point of completed all the basic paintwork. And now I would like to add some shading that would really help the leaf pope. So that's it over to the brush menu and from the sketching options, pick the bonobo chuck bonobo chalk at gentle texture, like a fine spray, and I love working with it. What I'm using it for is highlighting the edges of the leaf, and the holes have created in the leaf are starting to get that feel of slight depths as I gently draw around them with light green. But the key off doing this successfully is to touch up the leaf edges randomly, id like touches wherever you feel it's in place, but don't be too methodical about it. Bondable chilled brush will draw a fine texture when tilting the pencil, but you can get a dance texture out of it when drawing with pencil tip tilt pointing vertically, and that's really handy when you want to add some concentrated lights next up, I picked my darkest screen on painting shades with the same brush kind of the opposite side . The where where drew the lights shading. - Let's go back to the calligraphy brush, scale it up and set your capacity midway through to low. Yes, I want the leaf cutters to show through. I'm drawing water drops and Cynthia positives low. I can simply draw on the same spot to add more color to it, so that gives me the transparency of water, droves and the illusion of volume. At the same time, I'm finishing up with painting over the leaf lines and binding everything together with finishing touches. In our next session, I'll show you how to work with a text tool and I text to your illustration.
11. Adding and Editing Text: We're going to be adding textiles illustration and pick the right phone change, the size, the attributes and the color. But before that, if you're working with a sketch of your botanical illustration, it will be a good idea to have it in the background for what we're going to do next. Choosing multiply layer mode will allow the background color to show through the sketch. And, of course I'm gonna lock it now. It's absolutely fine to simply flow with your creativity and work without a preliminary sketch. Let's go ahead and press on the wrench said, like the plus two on text, and that will create the textbooks ready for your quotes. Type it in with your keyboard and press, and it's starting Now. I can drag the edges off the textbook to reposition the box on the converse and make it larger to feed my text. And I can scale up my text by sliding the size option to the right or to the life to scale it down. The text. Tooling Procreate is the option of working with all caps, lower old small letters, congest check or uncheck that options, and I need my big D back. So let's type it in the small keyboard I can on the middle. Left off the screen will bring up the keyboard so we can type text and we can switch between the keyboard and the text editor by tapping on edit style, which is directly on your right side of the screen. And I we can pick phone types by scrolling down the phone menu. You can change the phone style too. Bold, semi bold italic comes. I suggest you try out a few options before settling down on the one that fits your illustration for my work. I would like to take a simple type face, so I'm gonna have them do that. If the text doesn't fit the textbooks after scaling it up in size, I can drag the books to allow more space for eight and reposition the text on the converse so that it will fit my design. And that's now let's see other options to edit the text. Turning will affect the spaces between the letters, and this is something that I would use. And in the attribute options Theo stands for outline the U stands for underline, and we have over four alignments options like regular text editors, but they're not really relevant at the moment because we're not working with a block of text. The other design options, like tracking leading in baseline apply, also do a sentence, and they're not really relevant to what we're doing today. We can see the text in the layer menu, and from there we can edit the text. We can pick a color for the text from our color palettes. We can try a few options off colors from the colors that we've already set for talent. And I'm going to choose White for my texts by double tapping the left most section off the color wheel. Next, we're gonna bring all our elements together with the text and make some finish seeing touches to our illustration.
12. Assembling and Design: So another two, if you illustrated old are elements were going to design our illustration around the text we're going bringing the fix about shading and Rasic opposition. Let's start with our texts in. Let's gradually add elements to the canvas. I will begin with my big monster relief. Since it's destined for the background of my design and kind of supports and binds everything together, I'm going to duplicate my leaf and let's uncheck the duplicate to avoid confusion when editing. Now I'm ready to work with this element. I'm using the transform tool to manipulate my big leave on the converse, pinching and twisting it until it sits right where I want it. Here's an important tip that I would like for you to know. It helps to know beforehand where you want your elements, and the sketch would be most helpful at this point. Repeated ad. It's turning, and sizing will affect the resolution of your shaping procreate unlike in photo shop. So be mindful of that and try to edit the shape once you can always undo or retrace your steps to the original shape. Now let's transform the second most a relief. I'm going to work a little differently. This done. I want these leaves to be a mirror image of each other, but this leave is further back. It's a bit smaller than the first leaf, because changing size creates a variation in the design, and I'm going to give it a darker shade by 18. The colors with this leaf, simply scaling down their brightness to make it darker does not achieve the required effect . I will need to readjust the saturation as well, since adjusting the brightness alone change the colors into me, they appear oversaturated. So I'm gonna play with this a little bit and tweak it until the leaves looks nicely together. Let's bring another element onto the canvas. I'll need to rearrange the layers order, and the Smalley's should cover a portion off my text. The other leaves should move above my big tropical leaves. Let's reassess for a moment all these elements together. I can check layers by slighting right and then reposition them together as a temporary group with the transformed to, and I'm going to move them toe roughly where I want them to be. I can also make changes to their size while they're temporarily grouped together. Now I can go back to each layer and edit it separately. Let's use the selective and FREEHAND mode to select this group of leaves and with a transform tool, let's change its place on the canvas. I can repeat these steps with a small blue leaf, a swell to place it closer to its leave group and that small plan that's I've created before. That's where it belongs, and I can readjust its size and position until it fits my design. Let's go ahead and do the same thing now with the second group of believes, I'm going to select and transform the leaves to reposition them on the canvas. Now, if I want, I can also change the position off a single element by cutting and pasting it from its layer in procreate, their gestures that I can use. I'm going to slide down on the screen with three fingers, then pick the desire to edit from the pop up menu. Now the small leaf is placed on a separate layer, and if I choose, I can drug it's layer underneath my text layer. Finally, I'm going to edit and transform my flowers. Let's drug the flower layer to the top off the layer menu. Now let's go ahead and create duplications off the flower. I'll need three flowers for my design, so I'm duplicating twice. Next, I want to reposition like flowers and give them a slight tilt to the side. When I'm done, I can drive my flower layer underneath that don't leave to conceal the stamps. Let's finish up with 1/3 flower. I'm going to scale it down bait and reposition it and place the layer under the top leaf like it did before. Finally, I'm just gonna tweak a little bit all the layers. Make sure everything looks fine. Before I move on to studying shades, I'm going to work in Alfa Log with the vulnerable chalk to add shading to the flower stems . I love how this adds character and texture to the flowers, and at the same time it creates a sense of depth. Let's pick up the razor next and make sure all the elements sit well together. If the flower stems needs some adjustments, let's go ahead and do those now so that stems will seem like they're growing between the letters. - My illustration is almost ready I would like to give it even more character by drawing shadows under the toe, please. And I'm going to draw on a layer that I added right over the texts in the goulash brush of picked a grayish blue for the shadows that is close to the leaf shade of blue. And in this way, the shadow off the leave. Seen more realistic. The very last thing I'd like to do is create a shadow under the text. Then let me show you how to do this. First, let's duplicate the text layer. Then let's go to the bottom layer and pick a dark color for the text, shifting the dark attacks likely to the side and down, so that it will show under the text. Um, going over to the adjustment menu at the top of my screen and choose Ghazi in blue, sliding right on the converse. Adjust the amount of blur applied to the text. In this case, I get a slight blur for my shadow layer. My next step would be to set up blending option for this shadow layer so that it would blend well with the layers underneath. I can choose multiplying and that would work well. But I'm going with color. Burn as a works with the colors under the shadows and lowering the layer opacity to about 50% helps create the desired effect. With that, my friend, my work is done. All the elements now sit well together. I love how everything came out and I look forward to seeing your work. Thanks for joining me in this class.
13. Exporting and Sharing: Now that you have your illustration radiant done, you will probably want to share it on our class community board and with friends. Here are a few ways to do that. At the top menu. Hit the wrench icon. Pick the share and hear your options are between several FORMANCE. Share is appropriate file or beastie for photo show, but let's focus on the ones that are most relevant to us. J. P G will compress your work to an image light enough for sharing later on on social media and emails. So let's go ahead and pick that option. You can share part of your work like your big leaves or your sketch, since whatever is currently visible on your converse is what you will be exporting. So let's go ahead and export the leaf. And here are the images that I've saved on my photo file. But what about PNG? PNG is a larger, more detailed former, and it's great for exporting work for print. Here are some of my illustration that are print radio my story. I have an account on society six, and from there I can bring my work, So please go ahead and export your work and share it on our community board. We'd love to see it
14. Final Thoughts: Thanks for joining me this class. I hope you're during the laws. I'm really looking forward to seeing your projects. Learn more illustration. Skills and technique. Please check my teacher page here on skill share and make sure to follow me to stain foreign. When my new illustration class is ready for you. You can also join me on Instagram. If you can make a few moments, leave me a review here in skill share as it tells my classes. Trend higher among the other illustration classes. For now they care, and I'll see you soon in my next illustration close.
Yifat Fishman, Artist & Illustrator
