Botanical Illustration in Procreate: Clipping Masks, Blend Modes & Composition | Weronika Salach | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Botanical Illustration in Procreate: Clipping Masks, Blend Modes & Composition

teacher avatar Weronika Salach, Art with MAGIC

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      About The Course


    • 2.

      Your Project & Resources


    • 3.

      Canvas Setup


    • 4.

      The Brushes


    • 5.

      Sketch Framework


    • 6.

      Rough Sketch: Forms


    • 7.

      Refined Sketch


    • 8.

      Base Colors


    • 9.

      Finishing The Base


    • 10.

      Shadows: LINEAR BURN MODE


    • 11.

      Highlights: ADD MODE


    • 12.

      Details & Color Accents


    • 13.

      Background Details


    • 14.

      Adding a Frame


    • 15.

      Noise Texture


    • 16.

      Final Thoughts


    • 17.

      JUNE in BLOOM Giveaway


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Let's create a modern and bold botanical illustration, featuring vivid-colored fruit. I'll show you my entire process, from my special sketching & planning tricks, through the coloring stage, all the way to adding gorgeous noise texture using Procreate's clipping masks.

This class is perfect for intermediate students and for ambitious beginners who already know their way around Procreate's interface. In this class you'll learn:

  • Composition: designing a well-balanced sketch using geometric frameworks and shapes
  • Inking: drawing a clean base achieving clean lines and curves
  • Technique: mastering the use of clipping masks in Procreate
  • Blend modes: maximising the use of LINEAR BURN and ADD blending mode
  • Style: creating a modern illustration with bold noise textures

By the end of this class, you'll be able to create an eye-catching modern botanical illustration that will be a valuable part of your illustration portfolio. The illustration is fitting for printing, as well as uploading to online print-on-demand shops.

When taking this class, you will receive:

  • a convenient folder with all the brushes you need
  • 4 FREE brushes: a liner brush and 3 stamp brushes
  • my color palette "Bold Lemons"

Who is this class for?

  • illustrators
  • artists
  • surface designers
  • botanical art fans


Ready for your next class?


Find me on Instagram for wonderful art challenges!

Check out my YouTube channel

Read more on my website - blog posts & video tutorials


Would you like to further improve your illustration skills? You may find my other Skillshare classes helpful as well:

Magical Moths & Botanical Illustration using Procreate's Symmetry Tool

Learn about the 4 symmetry guides and improve your composition skills

Isometric Illustration in Procreate: Design Your Dream Room

A comprehensive guide to showing 3D objects on a flat 2D surface

Procreate Illustration for Beginners: Use Multiply Blend Mode Like a Pro

The most essential of all blending modes - a must-have to learn

Procreate Custom Stamp Brushes: Time-saving Patterns +5 FREE Brushes

Streamline your digital illustration work with those fun stamp brushes

Meet Your Teacher

Teacher Profile Image

Weronika Salach

Art with MAGIC

Top Teacher

Join The PORTFOLIO CLUB (click to view)

Hello! My name is Weronika (or Wera, pronounced with a "V"), I'm an illustrator, surface pattern designer, and online educator based in Berlin, Germany.


Join me on Instagram Join my Portfolio Club on Patreon Watch more Procreate and Affinity tutorials on YouTube Join my Affinity Designer Facebook Group Read my BLOG Head to my Newsletter to get notified about new releases & art challenges


Check out the NEW Artist Resource Library

See full profile

Level: Intermediate

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. About The Course: Hi, I'm Veronica. I'm an artist based in Berlin for over 15 years. If you follow my work, you know that I am very much inspired by color, flowers, and all things magical. We will be working on your botanical composition skills, as well as on some lesser no blending modes in Procreate. We will be creating together a beautiful graphic style botanical illustrations in Procreate. I will show you my entire process, from using simplified shapes to plan your composition, refining your botanical sketch, all the way to laying down the base colors. Next, we will dive into maximizing the use of clipping masks in Procreate. You will learn how to make the best out of a variety of blending modes, such as multiply, linear burn, screen and add. This class is great for ambitious beginners and for intermediate students. Definitely for those of you who have at least some basic knowledge of Procreate and its interface. If you are using a different digital drawing software such as Photoshop or Adobe Fresco, you can still profit from some of the classes in this course, particularly the ones in which I'm giving you tips on botanical composition. Drinks, fruit and flowers is a great way to practice your illustration skills in a fun and relaxing way. Please join me and let's create an eye-catching illustration for your portfolio. See you in the class. 2. Your Project & Resources: [MUSIC] Let's get started. We first need to discuss our task, the tools, and where you can find the resources. As for the tools, I will be using for this project my iPad Pro, 12.9 inch. This is the biggest iPad that you can get. It's actually from 2015, so this only proves that you don't need the newest equipment to create beautiful illustration. I'm also using an Apple pencil, and the Procreate version that I'm using is 5.2.6. I am filming this class in May, 2022, so if you're watching it a little bit into the future, I hope that the interface has not changed too much. Your task is to create a beautiful and bold botanical illustration with fruit elements. If you're not feeling comfortable drawing fruit, then you can just go ahead and create only flowers in your composition. But I'm warmly inviting you to step out of your comfort zone and to draw fruit with me. Today, I will be drawing a composition with flowers and with lemons. Let me show you now where you can find all the resources and where you can upload your illustration when you're done with the painting. I'm a Chrome user myself. You can download all the resources only in the browser. It doesn't work in the app in Chrome, I opened an older Skillshare class of mine, Magical Moths & Botanical Illustration, under the botanical illustration course. Below your video, there's the About section about the class, and what we need is the section Projects & Resources. I'm going to click on that. First of all, this is the spot where you can create your project. When you create a project, it's an opportunity for you to share a little bit more about your process, about your struggles, about what you have learned about the lesson. There's a comment section there. I can also comment in your project and give you feedback and answer your questions that are going to stay within your project. I always encourage students to upload process photos. Every time you create or go through a certain stage of illustration creation process, you can take a [NOISE] screenshot from your iPad of the sketch, or the messy color thumbnail, and then you can upload those process photos because they show other students that the illustration doesn't just come with a snap. There is always a little bit of time and love that we need to invest into this process. Create a project and show us your illustration or your behind the scenes photos. This is also the section, and only in the browser, it's not available in the app, where you can find all the resources. For example, for this old class of mine, I made available a few PDFs with some shapes and composition tips. I made available four color palettes, a brush set, and that's it. You always recognize a color palette extension by dot swatches, that means it's a color palette. Normally I use brushes, we will talk about it in the brushes lesson. I use brushes that are native to Procreate. You don't need to buy any fancy special brushes out there. I like to gather them into a convenient folder, so you don't have to go through all the sections in Procreate and you can just download such a brush set and you're ready to go. You will recognize it by the extension.brushset. Let me show you now how easy it is to do it in Chrome. Let's for example download the magical moths brush set. I simply click on it and a new window opens with a download. I have to select to download and it takes two seconds I think, [LAUGHTER] and it gives me the option to open it, so I'm going to open it. For me it's super convenient because it already recognizes that I've been working in Procreate, and it gives me the Procreate icon so I can click on it. It imported the brush set to also the last canvas that I've been using. We can go to brushes here and we can see that this brush set is added right on top which is very convenient. [NOISE] Let's go back to Chrome. Let's close this window. Let me show you, I will download now the Luna Moth swatch. Again, I will click on the swatch. Download, open in Procreate, it's importing. We go to the colors options, Palette section. This is a little bit tricky, you might not see it right away. This is the palette that I've been using as my last palette. You got to scroll all the way down. [LAUGHTER] This is the palette that I just downloaded, it's called Luna Moth. In case you want to transfer it a little bit more to the top, I have a lot of pallets [LAUGHTER] I keep, saving them for future reference. You can just grab it with your finger and then you can move it and bring it maybe a little bit higher, that's it. Now we know our task, we know what tools we're going to be using, you know where to upload your project, and you know where to find the resources. Join me in the next lesson where we start drawing by preparing the canvas. 3. Canvas Setup: We are in Procreate gallery, and now we will create our canvas. Normally, I work in smaller canvas sizes especially if it's for my private projects. I'm in the gallery view in Procreate. Normally, I work with 3,000 by 3,000 pixel canvas because I create a lot of illustration for private purposes, for practice purposes. In case you're creating something more important like illustration for a client I would rather go for a bigger canvas 6,000, 8,000, as much as you can go up. But for our project today, I will be using a little bit of a smaller canvas because it's just for private purposes. I click on the "Plus" symbol and I create a new custom canvas. I click on the folder with the plus. I am renaming my canvas right away so that I keep track. Let's name it to Bold Lemons. It recognizes my previous dimensions 3,000 by 3,000 pixel. You just got to choose whatever you want pixels or centimeters or inches. I stick with pixels and I change it to 4,000 by 4,000 pixels, and I keep 300 DPI. This already shows you the maximum number of layers, I have 29 here. In case it's too little for you, you can always go for a little bit less. I think I'll be using quite a lot of shading so actually let's create 3,500 pixels in the square format. This is my favorite dimension to work with. Now we have a little bit more layers here. In case you're seeing a different number, do not worry it all depends on the model of your iPad. The bigger, the better. You will have more layers in Procreate. It also depends if your iPad is new. Mine is pretty old, it's from 2015, so I only have 39 layers to work with, but it's okay. Let's create our canvas. Our canvas is ready, it's in the square format. Let's discuss the brushes in the next lesson. 4. The Brushes: [MUSIC] Let us briefly talk about the brushes. I always recommend brushes that are native to Procreate because you don't have to pay anything extra to get any fancy brushes, but of course, you can. We have a brush set that I named Bold Fruit, and all those brushes, well, nearly all of them except for those three you will find them across Procreate, for example, the 6B pencil is most probably here in the sketching section, and I think monoline is in calligraphy. Yeah, there's mono line in here. You can find all those brushes are within Procreate. I'm going to select a darker color just to show you the brushes and their textures. I recommend using the 6B pencil for a sketch because it works beautifully. It pretty much imitates a real 6B pencil. If you like very detailed sketches, you can also tilt your Apple pencil and you can work on the shading. This one is a brush that I predominantly use in my sketching phase. But you can also use it to add in details to your botanical illustrations especially if you're going for a style that looks like as if you are using a real pencil if you're going for this traditional media look. Normally when we start coloring, we start with base colors for our main shapes. I like to add my base colors with a monoline brush or with a liner brush. There's a very slight difference. The monoline brush, when you create a shape, [LAUGHTER] the monoline brush is very smooth, it doesn't have much texture to it, and the lines that you can create with a monoline brush are very uniform. This brush is very good for filling in the color, for example. Because when you fill in your color, there are no gaps between the line work and the filling and you don't have to make any corrections. The liner brush is a brush that I created for my own purposes as a compromise between a monoline brush and the dry ink brush because it has a little bit more texture to it. Let's, for example, draw a line here next to our monoline brush. I hope you can see that the liner brush has a bit of texture over here. If you're someone who doesn't like very, very smooth lines and once a little bit of texture then this brush will be perfect for you. Sometimes when you're using very textured brushes and you want to fill the color in like here, I created the line work and I'm filling the color in, it might be that you see some speckles that need a little bit of filling. Otherwise, the color has not been distributed here within the shape evenly. See I have to do a few fixes. Just be mindful of that unless it doesn't bother you. But [LAUGHTER] you see the difference. This is very smooth and this has a little bit of texture to it. Our next textured brush, I like to use it either for a base color or for adding in details is dry ink. It has even more texture. When I draw a few lines, I think you can see the difference. Monoline is very smooth, liner brush has a little bit of more texture and dry ink has even more texture. I think that dry ink just like 6B pencil, is a great pencil to add in some extra details. [LAUGHTER] You can also fill in the color with this dry brush if you want to have some speckles and a little bit of texture within the body of your shape. When I zoom in, you will probably see. I hope so, [LAUGHTER] that there is a little bit of texture here. But if you want your base to be uniform then I would rather use the monoline brush. Bonobo chalk, you can find that in the sketching section. We will be using it for shading and to add a little bit of noise to our illustration, and then the square stamp and the circle stamp, I will show you in the next lessons. I will be using those stamps to create a framework so that I can better work on a balanced sketch for my illustration. It's just a stamp brush, you can make it bigger or you can make it smaller here on the left side. What it does is just creates the shape of the square and this one creates the shape of a circle. Like so, we will be using it in our sketching phase. For your project, feel free to use the brushes that I provided in this folder. But of course, you can also use your own favorite brushes. Let's start sketching. 5. Sketch Framework: [MUSIC] What I always like to start with is my background color. In case you're using my color palette, bold lemons, then this is the background color that I selected. I just select the color, it pops over here, and then I can just drag it into my canvas. That's one way. Or you can just click on that canvas and you can select Fill layer. Those are the two options. [LAUGHTER] This is my background, and then I'm clicking the plus symbol and I'm creating a new canvas. I'm going to create a framework that will help me to nicely balance my illustration. For that purpose, we will be using the square stamp and the circle stamp. Let's start with the square. I'm selecting a color that is darker, and on that new canvas, I make this template a little bit bigger, and I create my square on the canvas. Then I go to the wrench tool to the Actions, Canvas, and I turn the drawing guide on. In case you want to edit your drawing guide, this is the option that you can find here. My drawing guide has a grid size of 110 pixels. I might only increase the opacity of my drawing guide a little bit and then I click "Done". I'm selecting the Move tool. What I want to do is to create the square a little bit bigger. I'm dragging my square to, let me zoom in, to the edge of my canvas right here. Essentially what I want to do is I want to create a small frame. Then I'm dragging my square to the other edge of the canvas on the diagonal. You can also fix that a little bit. If you have the option turned on snapping, when you move around that square, it will show you those guiding lines. See here in orange. This will help you to position your square right in the middle of your canvas. Place your square in the middle. Now it's exactly in the middle. Then I'm going to reduce the opacity of that square. You can always switch the background for the time being so that you can see better. Now I create a new layer and I will use my circle template to also position it in the middle of the canvas. Because what I want to do is to create an illustration with all the floral and botanical elements that will stay within my circle, and for that, I need a guide. Here you can change the size of your circle. Then I create the circle and I resize it to fit roughly the square that I just created. The option with my Move tool that I selected is uniform. If it were free form, then I would probably make an ellipsis out of that circle, so let's go back by tapping two fingers in our canvas. Now I do the same just like with the square. I'm moving it and I'm waiting for those guides to show me that I'm in the middle of the canvas. Let me summarize the steps for you. The square over here. It helped me to establish nice and even edges away from the canvas. That was step number 1. I can switch it off. The next step was to create a circle framework. I'm going to leave that circle so that it's serves as a guide for me, because I would like to create an illustration that will be in a circular shape. Then when I create a new layer here, select my 6B pencil to sketch. This is just an example. I can create a nice botanical composition that will only stay within the circle that I just drew. [LAUGHTER] You just have to imagine that it's a botanical composition here. I roughly follow the guide of my circle and I try not to draw outside of that circle. This is what we will be doing. Because then thanks to that frame, when I switch it off, I will have a composition that will stay within that circle. Let's click on it and clear it. You can, for example, create an illustration that is within the circle. Let me also switch off the drawing guide so that we can see better, or you can use the square as your frame, and you can, for example, create an illustration that will fill out this whole square. It's just an example and you will create something nicely balanced, and you will also make sure that nothing goes past those edges. When we switch it off, you just have to imagine that this is a botanical illustration. We have drawn our flowers, our plants. Because I used the square guide, I will have a very, very even frame over here. You will see that in action when we draw our illustration for the project. What I would like to do is to keep only the circle. I will delete the square. I will bring back my background. In case this circle is too prominent, then you can always go to the layer and you can reduce the opacity of this layer. This is what I'm going to do, I will reduce the opacity of this layer to at least have maybe even 30 percent. I will rename it circle so that I do not draw on that layer and I will create a new layer on top of that, and this will be the layer for my rough sketch. Now, let's work on our sketch by using forms. 6. Rough Sketch: Forms: [MUSIC] Our background is ready and our circular framework is ready. Let's rename it to forms. This is an approach that I developed a while ago, I also happen to have a YouTube video about it if you'd like to listen even more about it [LAUGHTER] You can head to my YouTube channel. I'm using simplified shapes to plan all my botanical compositions. For that purpose, I'm usually using some a pencil brush, usually it's a 6B pencil and I am using different colors so that I have good visibility [LAUGHTER] throughout my sketch. The way I imagined it, I'm going to stay with this dark color, just making sure that I'm on the right layer. The way I imagined it, I want to draw lemons, is that there will be some twig that runs slightly at the diagonal, and you see I am staying within my circular framework here. This is why I'm leaving this circular guide on because it will help me to stay within that shape, and again, my illustration will look quite good. I start to draw the twig, I just imagine how it could run, there will be some smaller twigs branching out of it, then I change the color for my lemons, for example it could be also from another color palette, some yellow. On a separate layer, I will merge it later on. I will draw very rough lemon shapes but without specific detailed shapes, I only want to use circles or half circle. For example, I would like to have a lemon here and I'm being very messy [LAUGHTER] about this stage. I would like to have one more lemon here and one more lemon here. I think number 3 when it comes to choosing the number of your elements, it's a very good number, everything looks good in three. But I would like to break it, I think this twig will have those lemons from the side view. I would like to add maybe here another lemon shape that will be a cross-section of a lemon, when you cut the lemon in half and you see the inside of that lemon. I would like to have it here, and because now I have everything on separate layers and I also divided it with regards to the color, so that I do not forget where I'm at, I am able to select with the select tools, each of those elements separately and using the move tool I can still move things around. For example, now I see that the twig, I would like to make it a little bit smaller and maybe put it at this angle here and transfer it more to this part, to the side of the Canvas. Going back to my yellow shapes. Now this one is good. Maybe this one I can put a little bit lower so that you know they're not, for example here they're not on the same level or they're not too close to each other. I want them to be at different heights. Maybe this one can go a little bit lower here, make sure they're not on the same level. Let's choose this coral color. If you were to draw lines through those lemons, you will see that they're not in the same line, [LAUGHTER] the same here. This one is on a separate line horizontally, this one is on a separate line and this one is on a separate line. They are or not stacked on one another or they're not in one line horizontally, if that makes sense. [LAUGHTER] On a separate layer, I would like to draw a few leaves to indicate some leaves. I'm going to maybe to this green color, it doesn't have to be green, it can be any color as long as your sketch will be readable to you. I would like to indicate arrows, especially when putting leaves into my composition I love working with arrows because sometimes I'm not sure what shape of the leaf I would like to use. I only indicate the flow of the leaves and later on when I work on adding more and more details to my sketch, then I can make some refinements and add in some extra detail. Obviously those leaves will be flowing with the twig, spreading also to the outside of the Canvas, and here I would like to have this cut lemon here and I would like to add leaves here, here, here, here and maybe here, maybe a little bit here, let's see. Somewhere here I would like to include my signature, so on the same layer I'm going to know that what I mean by this shape is that I would like to put my signature, I always sign my illustrations, and then I'm going to choose some other bright color, for example, this red coral color, [LAUGHTER] that was a tongue twister, and again on a separate layer I would like to indicate where I would like to put lemon flowers. Not just the fruit, the lemons, but also some small flowers. Add those cute little white flowers maybe here so I see that this is a little bit naked. Those are smaller blooms, they act as very good fillers in my illustration, and maybe one here. Because they're on the separate layer. Again, I can select them and I can move them, for example, this one I think it should go a little bit down and this one should go up, and once I'm happy with everything, I can merge it together into one layer with my forms. That's why it's still keeps the name forms. Let me briefly summarize for you what I have done here. I have kept my circle template so that as you can see here, I stay within the circle. Then I used different colors for the main elements of my illustration. I was actually drawing from my memory, but I knew I would like to create an illustration with a branch or with a twig. I started with a darker color and I drew here the branch or the twig for my illustration, then I changed my color and I drew the lemons. Finally I indicated the direction of my leaves and I used another very bright color to indicate the clusters of my small blooms. The advantage of this approach is that before deciding on any detail and possibly getting overwhelmed with the detail and not proceeding with your illustration at all, I am able to design the illustration with regards to the balance. I was looking for the good proportions, I made sure that it stays within the circle because I want to have this circular framed illustration, and because I was using different colors, I am able to see better if all those elements are spread nicely. I recommend to do this step without working further on your sketch because now it will be easier for us to refine our sketch. Our forms as sketch is ready. In the next lesson we will be working on our final sketch for the illustration. 7. Refined Sketch: After the forms, we would like to obviously [LAUGHTER] refine our illustration because right now we only see the proportions. We always see what very rough elements we would like to have in our illustration. Now we really need to work on our shapes. Let's create a new layer above, and let's start working on those shapes. I will reduce the opacity of the layer with the forms a little bit, and I'm going to stay on the new sketch layer and keep the very bright red color. It can be any color from the color wheel really. What I'm going to do now is I will start refining the shapes for my lemons because they are the hero of my illustration. For instance, with this shape, by the way, I'm still on the 6b pencil. [LAUGHTER] I know that I would like to have this lemon that has been cut and I can see the inside of the lemon. I'm going for circular shape. This will be just this classic lemon. With this classic lemon shape, it means it's oval and it has this little bit here, and the same here. This little lemon tip at the end of my shape, I'm still making it quite round, and another lemon in here. This stage is still very messy, so do not despair. [LAUGHTER] If you're doing this exercise with me and you're like, what the heck is that? Because I assure you it will be very beautiful at the end, you just have to bear with me. If we switch it off, you will see here are my lemons. The forms layer that we created in the previous lesson, it helped me to space them out very nicely. Now on the separate layer, I would like to fix the shape of my twig. I'm just choosing a color that is quite dark, and very roughly I'm drawing my twig. It doesn't have to be perfectly straight. Now that I have the lemons, I know there will be smaller twigs attaching to the lemon coming out of that main twig. Let's go back to the lemons layer. I would like to select this one and slightly change the angle of that lemon. Back to the right layer. You just have to stay focused that you're drawing on the correct layer. Again, drawing this tiny element that will attach our lemon to the original twig. Maybe here there will be, see I'm already following roughly to the arrows that I drew for the leaves, there will be some smaller branch over here or a smaller twig over there. Now we just need to attach this lemon and we're nearly done with the twig. On the new layer let's say, I'm looking for a super bright color. Let's take this turquoise color. It can be from any previous palette they've been using on a new layer. I would like to indicate the small lemon flowers. I think this is not very visible, so that layer, I will make it a little bit brighter. I go to the adjustments section here, hue saturation brightness. Here I will pump up the brightness a little bit because I couldn't see very clearly. [LAUGHTER] I will just have to select this new color and I can keep on drawing. Let's also make our lemons a little bit brighter or maybe darker. Now I can see better. We have our twig, we have roughly sketched out our lemons, and we have roughly the small flowers that we will draw later on. Now we can notice that those forms that we drew here on the forms layer, they were only a place holder. I drew only simplified shapes, like a circle. Now in the second stage, I am slowly refining those shapes. Let's create one more layer and draw our leaves. For my leaves, I'm using a color that contrasts with the background and also of course the rest of the colors. Because I want this preliminary sketch to be still very visible for me. Previously in the forms, I only drew those arrows. What I'm doing now is I already decided on the shape of the leaves and I'm already drawing them as they will be. [LAUGHTER] I decided spontaneously that I would like to make this orange a little bit smaller because I would like to fit some extra leaves over here. Of course, I would like to stay within my circle. That's why I'm making those changes. I select the color of my lemon shapes. I go back to the right layer and I would also like to include a place holder for my signature. Let's switch off the forms layer. Now I feel comfortable merging all those shapes. In case I want to do any alterations, for example, I think I would like to add more of those little flowers as fillers. Then I just make sure to touch my screen to select that color to stay within that color, and I'm just using that color to refine my sketch further. For example, I would like to have a few more fillers here to fix the shape of this flower here at the bottom. I like to zoom in and then to zoom out quite a lot to inspect the overall balance of my sketch. As the last refinement, I'm grabbing my eraser. I'm on the hard airbrush. I make it maybe a little bit smaller, and I would like to just erase those unnecessary parts. For example, this one here, the filler flower flower be on top. Just to make it a little bit more readable. This smaller leaf will also be on top. Here, we can delete parts of those leaves so that it's easier for us to see what's, what. [LAUGHTER] This lemon will also not be covered by any other leaves. Now I am ready with my sketch framework. I'm going to leave that version that is in color as my reference in case I get lost in the elements. Just a recap for you. I was using the circular framework so that I make sure that I keep all my elements within the circle. When I don't need it, I can of course switch it off, but I can also keep it so that I can see better. I started with the rough forms and then I developed it into more defined shapes. Next, I will select this dark color. I will make a copy of this colorful sketch by swiping to the left and making a duplicate. I will make the original invisible and I will just keep it for myself as a reference in case I get lost [LAUGHTER] in the details. Then I'm going to swipe with two fingers onto that copy layer and I will Alpha lock it. You will recognize that this layer is Alpha locked by seeing this checkered background. Then I'm going to click on that layer and select fill layer with the dark color. Now I have my sketch ready in the next lesson, we're all set. We're ready to start coloring. Again in case I get lost and this is a little bit too much. I can always go back to my colorful version so that I can see where the elements are. Our sketch is done, now we can start the coloring process. 8. Base Colors: [MUSIC] Let's start coloring, but before that I like to keep my layers very tidy. I would like to select those supporting layers, so to say the circle framework, the forums, and the colored sketch, which could be my reference for later on. I will group them, so that they stay a little bit out of the way and I do not draw on them accidentally. I select one and then for the remaining ones I swipe to the right side. They are all done selected. You can see this blue color as in the background and then I choose to group them. I'm just going to rename that group into planning. I will still keep my circle reference. I create a new layer for the coloring, that is between all the planning layers and the sketch layer, and then the final sketch layer, I think it's a little bit too much. It's too dark. I will reduce its opacity to around 30 something,40-something percent. For creating my base shapes, I will be using a monoline brush because I would like to keep my edges smooth and I would like to have my filling in the shapes of the color hassle-free without having to do too many time consuming corrections. If you want too, you can also use my color palette, bold lemons. We have our background. Now, I would like to start with drawing the shapes of the lemons. I'm selecting this bright yellow color, making sure that I'm on the monoline brush and in the layers panel making sure that I'm on a new layer and I'm not drawing, for example, on my sketch. Now, something important to say is that, again, this sketch is not set in stone. During the process, this is the creative process that is very spontaneous. If you happen to change your mind about the shapes and the sizes of your shapes, don't feel obliged to follow your sketch entirely. You're free to make any changes on the way. This is actually how it works. Let's start. This one is going to be quite easy. I'm just going to draw with my monoline brush, the circular shape for my first lemon. I only make sure that my shape has nice outlines and that the entire shape is closed, and then I'm dragging the color from the upper right corner, and I fill this entire shape of color. By the way, if you would like to save the size of your brush that you're using very often, you can do it in this way that when you're on your size, you can click on that option here, and you can choose this plus symbol. It will save your brush size for future reference, but I would like to get rid of it. This is usually the size that I'm using. It's roughly 6 percent. Now, let's draw this lemon. See in case you get lost and you're like, "Well, where are my lemons?" You can go to the planning folder and you can switch on the colored sketch version and you can find them [LAUGHTER]. I like to work on multiple layers because then it's easier to move them, to change them, to change the size, or to completely delete a layer in case you change your mind about having some elements in your composition. I'm creating a new layer and this will be a layer for my small filler flowers, and because those smaller flowers are quite delicate, I have it in my mind that I would like them to have a little bit more texture. I will use the dry ink brush and I will be switching in-between the dry ink brush and the monoline brush as I go. I'm not just dropping the color anymore to fill out my shape. I'm using the dry ink brush to color in the shape for those small flowers because I like the speckled texture that you get inside. How do I decide on the shape of my flowers? Sometimes just like here, I'm drawing just from my memory very spontaneously, and sometimes I like to use Pinterest or Google images to look for reference photos. Another way is to snap pictures. Reference pictures just on your phone whenever you are having a walk and you're seeing some interesting flowers somewhere by the road, or maybe you're traveling abroad and you're seeing flowers that you have never seen before, is good to snap a picture of those flowers and then to use them as your reference photos so that you can draw them and incorporate them into your illustration. But right now, I'm just drawing out of my memory some very flowy spontaneous shapes. Every now and then, it's very good to switch the sketch layer off so that you see better and you can refine your shapes in isolation seeing a little bit better without the clutter that you have in the background. Back to the sketch. Now, I would like to draw my twig and I would like it to have a little bit of texture. I'm going to use my liner brush and I will use this dark purple color, the darkest color in my color palette. I just make sure that I'm on a separate layer. I have the small filler flowers, the lemons, and the twig on a separate layer now. The nice thing that I like about this liner brush is that you can use this pressure sensitivity of your Apple Pencil, and by adding a little bit less pressure, you will have a line that is more small and delicate. By adding more pressure, you have a line that is a little bit more bold and then a little bit thicker. There's some variety. Whereas if you are using just a monoline brush, then regardless of how hard you're going to press on your screen, the line that you're creating, it's going to be the same. The way I'm using this brush is when I'm further away from my twig, I give a little bit less pressure so that the line is a little bit smaller, and the closer I get to this main twig, the more pressure I put on my brush, so that it's a little bit wider here when it joins the main twig, like so. Now, I would like to draw the leaves. I will create a layer that is right at the bottom. It's right underneath the twigs. Let's actually rename that to twigs, in here we have our lemons, and here we have our flowers. This will be the layer for the leaves that will be in the foreground. I'm just going to name it leaves one. I have two green colors here. This one will be for the leaves in the foreground, and a bit of a bluish hue. This one will be for the leaves in the background. I start with my foreground and I have switched to my monoline brush. See, every time I want to fill my shape of a color, I have to make sure that it's probably closed. It probably wasn't closed here in this spot. I will try to close it the better. Now, it's working. I would also like to draw at least one leaf that will be above the twigs. I create a new layer that is right above the twigs layer. Now, I would like to draw the leaves in a different color that are in the background because as you can see on my sketch, some of the leaves are overlapping. Let's create a new layer, and let's change our color to this more bluish green. Let's also place that signature. I would like it to be in the same color as the lemons. I have made a special stamp brush. I also have a class here on Skillshare on how to make stamp brushes. I'm going to use my stamp for the signature and place it on my Canvas. I have switched off my sketch to see if I'm happy with what I see. Those are my base colors. Let's group all those colors into one group. This is how we started it, then we developed it into a more refined sketch and this is where we are at right now. 9. Finishing The Base: We have our base colors laid out. We're nearly done with our middle stage. Let's go by the way to the Canvas information here. Left upper corner Canvas information. Then let's go to the layer section and let's check out our layer situation. We have 39 layers at our disposal at least for the model of my iPad Pro, I have used up 13 layers, but I still have 26 layers available. This is actually more than I will most probably need. [LAUGHTER] But it's good to know that I have so many layers that I can still use. There are a few more adjustments that I would like to make in the meantime, I also connected those little filler flowers to the main twig, so now they are all connected as you can see, none of them is just hovering. I will make a few extra adjustments on the leaves, and I would also like to draw the middle of the lemon. I also want to quickly show you the layers again in case you would like to organize the layers just the way I did. We still have our sketch layer on top. We can bring back the opacity a little bit. I was trying to follow the sketch actually quite closely. But you will see that indeed it was only a very rough reference, and sometimes I was creating the elements bigger or smaller, and I was also pushing them a little bit to different sites, zooming in, zooming out, just revisiting it on the go, so to say. A sketch that we prepare is not set in stone. You can always make adjustments. You can erase things, or you can add them completely new elements, just like this leaf, for example, it didn't exist in my sketch, but I found it. I didn't like the empty space over here, like it was just the background space, so I thought it would be a good idea to add in some extra leaf over here. Let's have a look at the layers together. Let's go to the Layers panel. Again, there's the sketch. Then I have the main group with the colors. I will switch off the sketch so that you can see better. On a separate layer, we have the small filler flowers in white, then we have our lemons, then we have just called it leaves front, those leaves that will be in front of the twigs, just a few of them, then the twigs, then leaves 1, leaves 2, and here I have my signature. I always include a signature whenever I create an illustration. I grouped everything into one folder or into one group. Everything is in one folder. In this folder we have all our planning layers, so to say, of course you can get rid of them. For example, maybe you don't need the circle reference anymore or the square reference anymore, or perhaps you're feeling confident reading your sketch and you don't need this color diversion. Sometimes you have a model of an iPad that supports fewer layers, or maybe you want to create an illustration that is richer in detail and has much bigger dimensions so that you can print it out on a bigger Canvas. I will show you one example. [NOISE] This is an illustration that I printed out on a Canvas. As you can see, it's an illustration that I created for my German class here on Skillshare about botanical illustration in flat style, and the dimensions of this illustration were actually even smaller than this one, it was 3,000 by 3,000 pixel, so you see even such relatively small dimensions can work beautifully and you can still print them out and give to someone if you wanted to. Having all those elements on separate layers will come very handy, especially later on, when we will be shading and adding even more details onto those elements. That's why I keep them on separate layers. It's also much easier to make adjustments to those items. For example, if I wanted to change the color of my lemons completely, it's a good idea to keep them on one layer because then it's very easy just to go to the adjustments panel, hue, saturation, brightness, and to change their color completely or bump up the saturation, make them darker. That looks interesting, or make them brighter. I'm going to keep them yellow though. Before we start shading those elements, I wanted to add in a few final details. I would like to create an illustration that is very bold, and what works very best for this style of illustration is a little bit of geometry using geometric forms. I do have an idea. Let me go back to the 6B pencil I wanted to show you. I do have an idea for the leaves. I would like to divide them in half, and then I would like to shade half of the leaf, and on the other side, I would like to add in just some strokes like that. This is a leaf that you will probably never see like that in nature. There are some strong geometric elements over here. I divide it in half. Then I'm using quite harsh, not so flowy forms, for example, those strokes of the pencil. In the end, I believe that through a little bit of use of geometry, my illustration will stand out even more. To divide my leaves in half, I'm going back to the liner brush, I also drew the whole twigs area with the liner brush. I am rechecking if I am on the correct layer, twigs, and what I'm going to do now is, let's take for example, this leaf so that you can see better. I will divide this leaf more clearly into two halves, and I'm going to go now through my illustration and do just that. I will add in those missing lines. [MUSIC] All right, this detail is done. I think I will not be adding those extra details on the leaves that are in the front. Now to my final adjustments for my illustration, I wanted to add in the middle of this lemon, and it happens that I had some lemons in my kitchen, so I wanted to show you exactly what I mean. [LAUGHTER] This lemon here I would like to draw the middle of it as if it was cut and you can see the inside of the fruit. For that, I am selecting the white color, and I will create a new layer on top of that layer, and this is where I will create my middle. I switch to a brush with more texture, and for that I always love using the dry ink, and I roughly draw the middle of the lemon, increasing also the size of my brush. I would like to reduce and remove this bit in order to erase it with the same brush. I'm on the dry ink brush. I'm going to the eraser tool and I'm just holding it. Then it switches into the current brush, dry ink. Then I'm coloring the inside. I made the brush a little bit bigger because with the dry ink you see the texture of the brush much better if you make it a little bit bigger. Instead of just dropping the color like that where everything is very even, I will fill out this color by hand. Because otherwise, I will not be able to take advantage of this beautiful texture. Next, I go back to the eraser and I have to erase bits of that shape so that the yellow underneath can come out. I will be aiming at getting this triangular shape. [MUSIC] I'm being quite messy about it, and if there's a little bit of white left, I'm not erasing it necessarily because I think it creates a very nice texture and nice extra details. In case I erase too much I can always go back to the brush, and I can draw again the missing strokes. [MUSIC] Before we proceed to shading, it's always a good idea to check if you really have all the base elements that you want. This is the stage where it's still relatively easy to add in those elements, but once you start shading and adding all the detail and then also adding the detail to the background, it's not that it's impossible, but it's a little bit more difficult, so I highly recommend that you still have a look, you zoom in, you zoom out, and you see if you would like to add in anything else. You can go back to your sketch in case it's not very readable for you. You can always go back to the colored sketch. You can check with the forms, you can check with all those planning layers, and you can see if there are any extra leaves that you would like to add or maybe some extra flowers here and there. Another thing that you can do at this stage that is relatively easy is to go to one layer with elements, for example, to those small flowers, and you can recycle them by selecting a few of them and making a copy and then merging it together. Let me show you what I mean. For example, I would like to copy this flower over here, so I am free hand selecting this flower, and then I have done the swipe with three fingers down, and I have an option to make a copy of this element. Whenever I click duplicate right now, you will see that the system created a new layer on top of this small flowers layer, and it's exactly the flower that I wanted to copy. Now, I can use the move tool, and I can experiment with putting this flower to some other part of my illustration. I can also make it smaller, I can resize it, and in case it looks a little bit too similar, I can for example, flip it horizontally or vertically so that it changes the orientation a little bit. For example, I think it will look good over here. I don't even have to draw any extra twig over here because it naturally comes out of this twig that is already here. Then you can merge it together. I think I am done with adding the elements to my illustration. Now I'm ready to start shading. 10. Shadows: LINEAR BURN MODE: I always start adding in the extra shading and the extra details to my illustration by making parts of my illustration darker. By adding some shadows, for example. Let's imagine that our source of light comes from the upper left corner. I will draw just for myself this reference arrow so that I am reminded that the light comes from here. Now, I will use this information to put some shadows onto my lemons. The most common technique to add shadows to illustration using blending mode is to use the Multiply blending mode. Blending modes are filters that you can put on top of your elements that will blend or merge with the layer underneath and they will affect the color and the brightness or the darkness of the elements that you are manipulating. I have an entire class that I devoted, for example, to discuss the Multiply blend mode. In one of the lesson, I am demonstrating how nicely you can add shadows using Multiply blend mode. Whenever you ask an illustrator, how do you add your shadows? Pretty much in half of the cases, they will say they're using Multiply blend mode. What I would like to show you in this lesson are two other blend modes that you can choose from. To complete your project, I would like to ask you to practice using those two blend modes. You can choose between one or the other. Just as a recap, you can find all blend modes or blending modes when you go to the respective layer and then you go to the letter N, which stands for normal, you click on it, and then you have a whole group, a very long list of different blending modes. The ones that will be interesting for us at this first stage of adding texture in detail in our illustration are Linear Burn and Color Burn. I would like to make those adjustments on a clipping mask. To create a clipping mask, you create a new layer, and then you click on that layer and you choose the option clipping mask. And then what happens is that clipping mask is connected to the layer underneath. You will notice that it's a clipping mask because you can see a very small arrow pointing down. So pointing down to this main layer that will be adjusted because of using a blending mode. I will be adding in those details using a very nicely textured bonobo chalk. Let me select it now. We could have, for example, just selected our lemon color, we could have gone to our palette, to the classic view and we could have made this color maybe a little bit darker, more saturated, and maybe a little bit towards the red color. Then we could have just swiped with our two fingers to Alpha lock. Then using our bonobo chalk, adjusting the size, we could have just directly added in this shading onto the lemons layer. I don't like this approach, that's why I will go back. The reason why I don't like it is that I draw directly on that layer, so it's harder to make any changes. Just like with having all those elements in separate layers, it's the same advantage to have also clipping masks instead of drawing on the original layer. Why? Because clipping masks, they're like normal layers. They're just connected to a layer underneath, but apart from that, they can also be adjusted. They can be renamed, they can be inverted, they can be cleared, you can fill this entire clipping mask layer with another color, and also because it's a separate layer, you can take advantage of the adjustments panel. You can take that one particular clipping mask that you created and you can go, for example, to hue saturation brightness, or to the color balance and you can manipulate its color or it's hue completely. I think it's much more convenient, that's why I will be using for each of those elements that I created for my illustration, clipping masks. Now, I will adjust this lemon clipping mask to my Linear Burn blending mode and I would like to demonstrate how this blending mode works. We make sure that we select the very same color, so you can either pick it again from your lemon or you can go to your color palette and pick it again. We make our bonobo brush a little bit bigger. We remember about our light source. Now, we gently start the shading. The effect is very subtle, but you will see that the very right side of my lemon got a little bit darker. It's because when the light hits my lemon, I have this darker side over here at the bottom. Normally to add even more depth to my illustration, I stick to the original color. You remember that first I selected the original color of my lemon. Now, what I'm going to do is I will select this new darker color and continue to shade it a little bit more. Now, I'm going to pick it again, the darker version of the color and I continue to shade. I will also take this purple violet color from my palette and I would like to test adding in a little bit of warmth by using this color too as I work on my shadows. In case it's too much, remember we own bonobo chalk, you can just hold the eraser and then it'll also change itself to bonobo chalk and then you can erase bits of this shading if you have done too much. For example, here, I made the mistake, the brush was too big. I don't want this to be so dark, so I'm going to erase it. Let's fix the shadow here. I will select again the purple color. The lemons are done, at least the shadows. Let me show you now the difference between a Multiply and different types of there was burn modes. This is Linear Burn. It's a little bit darker than Multiply. It's also a little bit less saturated. Multiply is also quite dark. Linear Burn, as I said, it's a little bit darker and because I want a striking and bold illustration, I will go with Linear Burn. There's also Darken but actually, the effect is not as dark as I would like. This is Linear Burn and there's also Darker Color, which for me is also not dark enough. That's why I will stick with Linear Burn. I like the level of contrast, but in case it's a little bit too much for you, you can always lower the Opacity of this clipping mask and make it a little bit more subtle. This is, again, the advantage of having elements on separate layers. If we drew directly on the lemons, we wouldn't be able to make all those changes. You can even stay on that clipping mask, go to Hue, Saturation, Brightness, and to change the color a little bit. At the starting point, it's at 50 percent. We can move a bit to the left and then it's getting a little bit warmer, a little bit more reddish. If we move a little bit to the right, it's getting greener. This is also a very pretty effect by the way. I will make it a little bit warmer. We're going to keep it at 47 percent. I can also pump up the Saturation maybe a little bit. If I want an even more striking effect, I can always make it darker. But I think this is enough, so I will leave it at the original 50 percent. Now, let's take care of our leaves. Let's start with the leaves that are at the bottom. Let's create again a Clipping Mask. Plus select that layer "Clipping Mask." Let's also change it to Linear Burn. It's still on the Bonobo Chalk. And here I would like to be very precise and I would like to shade only exactly the half of the leaf. In order to do that properly, I will take advantage of the Selection tool. I have the Freehand option selected. As I'm using the Selection tool, you will see the marking with this animated line. I'm moving along the line that I drew before, that runs exactly in the middle of the leaf. Then I'm selecting the one 1/2 of the leaf and then going to my brush. I'm using the Bonobo Chalk to shade only exactly the half of the leaf. So since only that one 1/2 of the leaf is selected, if I drew here, it will not be affected. You can shade your leaves this way one by one, or we can select all those halves of those leaves at the same time. Let me show you how to do that. We go again to the Selection tool and we start selecting one leaf half. When you're done with one leaf, you go to plus Add, and you're able to select one more selection [LAUGHTER]. Another half is done so I'm clicking on the Plus again. Now I can select this half. This one is also not done. Let's select this half as well. Okay, and now I'm off to my brush and I'm shading my selections. It's very convenient because I don't have to do it one by one. All that I need has been selected. I really like the Bonobo Chalk brush because it gives you this very modern-looking noise texture. But of course, using the Bonobo Chalk brush is only a suggestion. If you're having your own favorite brushes to add some texture to your illustrations, then feel free to use your own brushes. Now a bit of a recap, a bit of a summary for you. We first focus on the leaves that are right underneath. They are at the bottom. Then we created a dedicated Clipping Mask, which by the way, can also be switched off and on. It just behaves like a normal layer. The only difference is that through this arrow here, it's connected to the layer underneath. That's it. But you can still manipulate it just like any other layer. Then we changed the blending mode of that layer to Linear Burn. We used a very textured brush to add some shadow and texture to one 1/2 of our leaf. Now, I'm going to repeat the process. I'm adding the same details to those leaves here. [MUSIC] Now the leaves that are in the front. [MUSIC] For my small flowers, I would also like to add in some details using a Clipping Mask, but I will not use a blending mode. I will just use this extra color from my color palette, the purple one. I would like to mark the center of those small flowers with this accent color. I'm creating a new Clipping Mask on top of the flowers. I'm not turning it into any blending mode. I just keep it in the normal blending mode. I make my Bonobo brush a little bit smaller. I just add in very subtle shading to the middle and to the bottom of the leaves. [MUSIC] In this easy way, we added more dimension to our illustration. In the next lesson, we will deal with adding in some extra highlights to brighten our illustration up. 11. Highlights: ADD MODE: Just like for adding shadows, multiply blend mode is the usual blend mode to go. For adding highlights, the most typical blend mode is the screen mode. I would like to suggest that we use a different blending mode just to practice, namely, there is a blending mode that is even more intense than screen. It's called Add. Let me for example show you that if we were to turn those shadows on the lemon into a highlight, this is what it would look like. Let's go down to screen. Let me zoom in. This is what screen would look like. It takes the base color and it makes it much lighter. Add is even more intense, and because I would like to create an illustration that is more striking and bold, then I will obtain for a blending mode that is one step more drastic so to say. Let's see again the difference. This is add, lets zoom in and this is Screen. Screen is much more subtle. If you don't like Add, you're very welcome just to use Screen. Just like with the shadows for each of those elements, I would like to add in some highlights. I start with the lemons. The easy way to create a clipping mask faster is to go to the original layer. For example, the one with the lemons and to hit the plus sign. If there's already a clipping mask on top of it, then the layer that you will create in-between will automatically be a clipping mask. Then I drag that clipping mask on top. I want my shadows to stay in the background, and I want my highlights to be in the foreground. That's why the layer with the highlights will be higher than the layer with the shadows. I make sure I have my bonobo chalk because I want to keep this noisy texture. I change the blend mode to Add. The letter has changed. Now I know that this clipping mask is set to Add. I selected the base color of my lemon. Maybe I can make the brush a little bit bigger. Remembering that my light source came from here, upper-left corner, I add in some highlights. [MUSIC] If it's too much, you can always go back. [MUSIC] If it's not enough, then you can take this lighter color that you have just created. You can select it. [MUSIC] You can add an extra layer of this lighter color which will be turned even lighter by the Add blending mode. Now I will do the same with my leaves. I'm going from the top to the bottom. I go to the leaves that are in the front, and I do the same and your clipping mask. I said it's to add. Then I said I select the base color of the leaf. [MUSIC] The darker the base color, the effect will be more dramatic. There are two ways in which you can make your effect more subtle. The first way is to be very delicate with your brush. In case you're seeing all this is too much, you tap with two fingers on the screen to go back. [LAUGHTER] You just got to stay careful. Another way is to go to that clipping mask, to click on it, and to go to the opacity slider, and to turn it down a little bit if you want to. Now I'm going to repeat that process and I will add in some extra highlights on to the rest of the leaves. [MUSIC] I think that this twig itself doesn't need a lot of change because it stands out very nicely from the background. I would like to keep it dark. However, I think it would benefit from adding in a little bit of more of a vibrant color. I will also create a clipping mask over here. Maybe not in any particular blending mode. I'm just going to select the color. I will make it more saturated and brighter and maybe move it more towards the purple area. [MUSIC] Still using the bonobo chalk, I will see if I like this effect. It's very subtle, but I think it makes the illustration more interesting this way. [MUSIC] I recommend that you go in for a color that is quite bright. Look for colors that are a little bit brighter here on this slider, and have more of a saturation on the middle slider. [MUSIC] Choosing colors that are more saturated gives this nice luminosity to your illustration. Now we're done with our noise, shadows, and highlights. It's time to add in some extra details to make the illustration even more bolder and a bit more geometric. 12. Details & Color Accents: In this lesson, we will draw the final details of our illustration and we will add in some blast color accents. This will give even more dimension to your illustration and make it look a little bit more interesting. First, I would like to summarize what our layers look like. Just as a reminder, at the very top, we have our sketch layer. We switch it off because we don't need it anymore, our base colors are late. But in case you want to revisit it, I always put my sketch right on the top. Then I have a big folder with the coloring layers. In a separate group, we have our flowers then on this one small group I added in those little stalk elements that connect my lemon to the twig. Then we have a group for all the lemons. Those few little leaves in the front. I merged all the layers together that make up the twig, and it's now only on one layer. Next, we have two layer groups for our leaves. I like to use abbreviations when I'm naming my groups for the layers as much as possible. L1 stands for the first leaves that are in the foreground and L2 stands for those secondary leaves that they're more in the background. The ones in the foreground they're a little bit more greenish. Those are the ones that are in the front and the ones in the back they're a little bit more bluish. I also included my signature on the separate layer and out of all the planning layers, I only keep the circle or framework. For drawing our final details, I like to use more textured brushes. You can use your own brushes, your favorite brushes, or you can use the ones that I have in the folder. Namely, I tend to use a lot dry ink or the liner brush. The liner brush is a little bit more finer for finer details and dry ink is for a little bit bigger details that have very nice texture and speckles to the color. For the extra color accents, I tend to use all the time the Bonobo Chalk brush. For all those final details and color accents, I will be using Separate. Yeah, you guessed, separate clipping masks. [LAUGHTER] Again, a reminder, I really like working on multiple layers because you can get rid of them more easily and you can make any adjustments much more easily. If one set of elements is on a separate layer, you can change the color completely, for example, by using hue saturation brightness, or you can lower the opacity of all those elements. Let's start with our small flowers. I would like to use my liner brush and I would like to pick from my illustration this white color, and I wanted to draw some lines stemming out of the center of the flower going to the outside of those flowers. Let's open our flowers group. I will go to the main base layer for the flowers and I'm going to hit the "Plus" symbol so that I get another clipping mask automatically. As a reminder, if you do it from your base layer and you already have a clipping mask above, anytime you hit the "Plus" on the base layer with your base elements, each and every time you will create a clipping mask by default. Let's do it the other way round. If you just stay above on the clipping mask you hit "Plus" then it becomes a normal layer and then you have to click on it and change it to clipping mask, which is also possible, but this way it's faster. [LAUGHTER] But let's stay on this layer here. It has to be above. First, we have our flowers, the base, then we have this insight pinky color and we would like to paint some white elements above. I'm on that extra layer for the extra details. By the way, the blending mode is set to normal because it's just going to be a plain white color. Making sure that I'm on the right brush. I'm making it a little bit bigger so that those lines are more visible but not too huge. I'm just drawing those extra white lines. They look very settled too. To add in those extra details on the flowers, I'm not adding any new color. I would like to keep my color palette as minimal as possible. The safest way is to go either for the colors that are already in your color palette or to use white. White is always a safe color, especially when adding some accents. As you will see, it's a very subtle detail just using plain white color, but it does make those flowers a little bit more interesting. Let's add some extra details on our lemons. Let's go to the lemons group and open it. We have our base then on Linear Burn, we have our shadows, and on add we have our highlights. Let's create from our base layer another clipping mask and let's drag it right on top. To add my details inside of the lemon and outside, I would like to use the dry ink because it has a little bit more texture and it's a little bit more chunky. I'm taking the base color of the lemon. For the clipping mask that I just created, I make sure that it's on Add blending mode. Now it's on the Add and you can recognize it by seeing the letter A. I would like to use the base color of the lemon. I either just select it from my illustration or I go to my color palette and I select the original yellow color that I used for my base. Right now I am on dry ink. I like it a little bit more for those more chunky details and it has a beautiful texture. I can always change the color to see if I like the color combination more by just selecting it from my layer. This time I selected the yellow that is slightly darker. In this way, I'm getting the friends color placed on my lemon, so to say. By selecting still the same base color from the elements on my illustration, I am staying within the same color palette. I'm only getting colors that are maybe a little bit lighter, sometimes a little bit darker, but it's still, so to say, the same family of colors and this is why my illustration looks very cohesive at the end, it feels like all the elements belong. If I zoom out, you will see that it's basically the same color, but it just has different shades of the same yellow. Let's see what this lemon would look like without those details. Let's hide it. Maybe a little bit boring, nothing happening there. That's why if I were you, I would keep going and I would keep adding those extra details. Now let's try this one. You can always make your brush a little bit bigger. I just would like to add some extra strokes so that this lemon looks as if it had some volume so that it's not just like this flat lemon, but it has a little bit of volume. We can imagine that it's rounded, it's curvy. I'm following the shape of the lemon. Look in the wave in here. I will select a lighter color here for this area. Yeah, I think I like it. I think I'll leave it at that. Then I repeat this very same process for the rest of the lemons. [MUSIC] The lemons are done. Let's close this group. Let's maybe leave the front leaves as they are, and let's add some extra details now to the leaves because they are a little bit more important in my illustration. Let's start with the leaves that are in the front. I labeled them as L1. When I was planning my illustration, I had briefly mentioned that I have this vision for my leaves, [LAUGHTER] let's imagine it's a leaf, that they will be split in half, like here, and then one side will be a little bit darker and the other side will have some strokes, like geometric strokes, more graphic-looking elements. This is what I would like to try for those leaves. Let's open our group. Let's create a new clipping mask from our base layer and let's drag it also up above. Let's change the blending mode again to Add. Let's also stay on the dry ink because I would like to create similar strokes on my lemons. Let's start with this leaf. I'm going to select the base color and I will proceed with adding similar strokes just like on my lemons. [MUSIC] I am very happy with how it looks. I like the idea that I had in my head. It's working for me, so I will continue now and I will add in the same details for the rest of the leaves. The one thing that I have changed was to put those details between the shadows and the highlights. The highlights will be above those details. Even though it's not super visible, those highlights will also affect all the layers underneath, including the new details that I just created. In case I would like the details that are below to shine through a little bit more or to make this Add blending mode effect a little bit more subtle, you can test lowering the opacity of your layer with the details. In between my shadows and my details, let's rename it quickly, I would like to create a new layer that will be set to normal blending mode. I would like to switch to my Bonobo Chalk and add in some color accents. The color accents that I have in mind are a bit of a bright yellow and bright light pink because I think they stand in a very nice contrast with the green. Let's start with the pink color from our color palette, and I will show you what I mean. Apart from that, I will move to the classic view and I will make sure that I move towards the right upper edge of this color area over here. From my experience, adding color accents that are from this upper right area, which gives us really bright colors and very saturated colors, they usually work the best for me for adding color accents. Let's see how this works. I will wear it just as a reminder on this original purple color, and I moved the cursor to achieve a color that is more saturated and brighter, so a bit more up to the right side. I'm on the Bonobo Chalk. I will switch off the other leaves so that I don't forget where I am. I'll make the brush a little bit smaller and I will start adding in some subtle accents. [MUSIC] This looks very interesting. I just wanted to demonstrate what I have in mind. If I switch it off, it's just green. If we add a color that stands a little bit more in contrast, then it makes everything more interesting. [LAUGHTER] Let's also try with the yellow color, especially on the edges here. We have to imagine where could light hit that leaf. There's really no right or wrong over here. Maybe one advice that I can give you with the Bonobo chalk; to go really gentle at first. Very gentle barely touching the screen of your iPad because if you press too hard, then the effect might be a little bit too drastic. It's a good idea to build your texture gently and step by step. One leaf is done. Let me show you what this leaf would look like without those color accents. This leaf gained a little bit more pop and it looks a little bit more bold and graphic. Compared to the other leaves, this is like a leaf superstar. [LAUGHTER] It looks really nice. I will proceed now. In my History, the program remembers the yellow that I used and the pink that I used. I will start with the pink and I will basically repeat the process on the rest of the leaves. Then I will demonstrate again what the difference is with and without those color accents. [MUSIC] I'm going to switch back on the other leaves. Now the leaves that are in the foreground, the L1s, [LAUGHTER] they really stand out and they look much more interesting, thanks to those color accents. Have a look. [MUSIC] Now we will repeat the process with those other leaves that are in the background. We will create two layers of details. One layer will be on the Add with the extra strokey elements on the leaves. The other layer, which will be set to normal blending mode, will have the color accents in. [MUSIC] I like the effect so much. I decided to do the same to the leaves that are in the foreground because I think they can profit from having a little bit more light in there. [MUSIC] I hope that you like those extra details. Join me in the next lesson where we'll do something with this boring background. 13. Background Details: This step is completely optional, but we have already seen in the previous lesson that adding in those extra details and accents is really worth it because the illustration comes to life more, it becomes more vibrant the more details we add. I thought it would be a good idea to make use of this circular framework because when I switch it off, then it's just some lemons with twigs and with leaves floating, and the circular framework that I created as my props, so to say, kept this composition in one place, so to say. I need some elements that will maintain this circular composition, even if I get rid of that circle. One way to do that is to utilize those strokes that I used on the leaves and on the lemons. Repeating the same sort will, again, make the illustration look more consistent. You make the illustration look more consistent basically by repeating the colors and sticking to a relatively small, minimal color palette, or by repeating similar shapes. Let's try to do something with this background together. We will stay on the same brush for the details that we had on the lemons and on the leaves, we will stay with the dry ink because it's beautifully textured and a little bit more chunky. From our background layer we will create two new layers and we will be switching in-between those layers. Since we will be working on the background, we select the color from the background, either directly from our illustration or from our color palette. Then those two extra layers that will add some extra details to the background, they will be set to a different blending mode. The first layer next to the background, we will set it to multiply. Then the layer above, we will set it to screen. This layer is on multiply. You can see the small m letter and this layer is on screen, you can see the S layer. You might remember from the previous lessons that screen and multiply, they are brothers and sisters with linear burn and with add. We were using linear burn and add on all the other elements of the illustration. But the difference is that linear burn and add are more vibrant and more intense. Whereas, screen and multiply, they work in the same way. Screen makes the colors brighter, lighter, and multiply makes the color darker. So it's great for shadows. But screen and multiply, they are a little bit more subtle and I feel this is a really good blending mode to use on the background because like the name suggests, it has to be in the background. [LAUGHTER] It shouldn't stand out too much. But those blending modes, on the other hand, they will help us again to stay within the same family of colors because we will be working with exactly the same base color, the color of our background. Like I said, we have the very same color of the background. Let's stay on the multiply or maybe I can rename it so that we don't get lost. This one is the background, that's my abbreviation. [LAUGHTER] This on multiply and the one above is screen. What I want to do is I want to create similar strokes that come out of those central elements of the illustration to the outside of the circle and I make them follow the flow. You see I can draw an arrow. They will be following the flow of my elements, so to say. Then sometimes I will switch to this screen layer and I will add in screen blending mode. Those two colors, the lighter one and the darker one, they are exactly the same base color. But screen made this color lighter and this color on multiply layer got darker, but virtually it's the same color. Then I just continue adding those details. I'm going back and forth between multiply and screen layers. If I'm moving towards elements that are lighter, for example, this flower is quite white, then I prefer to add in here the darker strokes so that the illustration is more readable. I am staying within my circle so that in the end, when I switch this framework off, I will be keeping, you see, it's comes together, it's so nice, it will keep the shape of the circle. Then when we're done with the entire shape of the circle, you will see that everything, the entire composition this close within the circle. I really like this technique a lot. Let's speed this video up. Let me finish the circle and soon I will show you the final results. Let's switch off our framework from the planning folder to see what it looks like. Yes. [LAUGHTER] Of course, you can change those colors, you can make them a little bit less prominent. For example, I like to play with the opacity. The background, just like the name suggests, has to stay in the background. Maybe I will make those elements a little bit more subtle. Let's try it out. I reduce the opacity of those layers roughly by half. Voila, our illustration is ready, I would say. Congratulations. If you would like to stop here, if you think, okay, I'm done. [LAUGHTER] This is my final illustration you can do just that. Your illustration is complete and if you would like to continue with me to the next lesson, I will show you some tips and tricks on how to add to your illustration some extra framing around and also how to add a little bit of noise texture on the entire canvas, on the entire illustration. Follow me if you'd like to continue. 14. Adding a Frame: [MUSIC] This step is completely optional. Let's create an additional white frame around our illustration. At this point, I highly recommend that you leave this original file with your illustration as it is, and that you go through your gallery and you make a copy of this illustration, so that we can add our extra frame. Let's do this together. Let's go back to the Gallery view. This is, by the way, another illustration that I created in this style, but it's with an apple. [LAUGHTER] What I recommend that you do now is swipe to the left and then a menu will pop where you have an option in the middle to make a copy, to create a duplicate. You can click on that, you can create a copy, then you can keep your original, and you can rename it to something like V2, version 2, so that you know it's another version of the same original illustration, but with some alterations. Now, let's go inside of our copy. Now we can work on it freely without worrying that we will destroy something. We always have our original back in the gallery, and in case we want to make any alterations, we can just go back to the original file. In this new copy, we can play with this illustration as much as we like because we will not be able to destroy it. We always have the original safe and sound in our gallery. Now what we got to do is, first of all, get rid of our sketch layer and get rid of all the planning layers to flatten our background layer, and to flatten all the coloring layers. Then we pinch everything together and we have the entire illustration on one layer. Let's maybe just give it a number. Next. In case again, we change our mind, let's always keep an original. I'm swiping to the left again, and I make a copy. I make my original invisible, and I rename this one to number 2. Our default background is white. What I will be doing now is I will be creating a subtle frame that will go around my illustration, which will be exactly white. I'm going to go to my menu, to the Actions tool, Canvas, and I will switch my Drawing Guide on. I can always go to edit the drawing guide, and I can make this grid, for example, smaller if I would like to have my frame a little bit smaller because I will be following those lines to create my frame. I'm keeping it at 112 pixels. I'm okay with the color, I think it's very visible, so I will leave it at that and click "Done." Now I will be moving with the Transform tool, the entire illustration to the corners here. Clicking on "Transform," I'm going at a diagonal, and I am arriving at where those two lines meet. It's very important to have the Uniform option switched on, so that our illustration is not distorted as we go. I start with the upper-left corner. See we already have part of our frame on this side of the illustration. Then I go at the diagonal to the lower-right corner, and then I'm shifting my illustration to the intersection of those other lines. There is our white frame. to see it better, let's go back to our Actions menu and get rid of the drawing guide, and we have a very nice frame. In case we don't like it, we want to go back. Remember, there's always the original that we have saved here. I'm going to keep the version with the frame. Now you can join me in the last bonus lesson for this tutorial, where I will be showing you how to add noise texture to the entire illustration. 15. Noise Texture: [MUSIC] We're nearly done. We can continue playing with our illustration. I have one original version without the frame, and then number 2 is the version with the frame. In case I want to keep it without any noise texture, again I'm swiping to the left and I'm creating a copy, and I'm renaming it to three. Of course, you can rename it any other way that you want. You can rename it two, without a frame, with frame, and maybe noise. Now we will be working on this third copy layer, and in a very easy way, we will add noise texture to the entire illustration. To do that, we go to the Adjustments panel. Here, we have a few interesting effects that we can apply to our illustration. We will be using Noise, so we click at it. Then with our Apple Pencil on the canvas, we slide to adjust. As I slide to the right, you see that the percentage goes up, and the more I slide to the right, the more noisy my illustration gets. I would recommend that you stay at around 5, 6, 7 percent, maximum really 10 percent. So this is, for instance, eight percent. You will see it, especially on the background, because for all the other elements like the lemons and the leaves, we were using the Bonobo Chalk brush which already has some texture and it looks as if it had some noise texture. You won't see it that much when you zoom out, but when you zoom in and when you look a little bit closer, you will definitely notice this extra texture. Noise is becoming even more popular these days. I see more and more artists using this effect, or creating even some extra noise brushes for sale. I just wanted to teach you that you don't need to buy any fancy brushes, the noise effect is already available for free in your Procreate App. Well then, now our illustration is really complete. 16. Final Thoughts: [MUSIC] Thank you for taking my class. I hope that you learned some new techniques and you were able to take your illustration skills to the next level. I'm really looking forward to seeing your amazing illustrations in the project gallery so don't forget to publish them. If you are posting on other social media such as Instagram, don't forget to include the #magicalflorals, so that I can see your illustrations, and maybe you can get a chance to be featured by me on my social media. I warmly invite you to watch my other Procreate classes to learn new skills and to solidify your knowledge on how to illustrate and procreate. Make sure to subscribe to my YouTube channel and follow me on Skillshare so that you don't miss the information about my new classes and any upcoming art challenges. See you in the next class. [MUSIC] 17. JUNE in BLOOM Giveaway: Hi guys. I would like to announce a really wonderful art challenge that is currently taking place on Instagram. Five of you have a chance to win one year of Skillshare subscription. That means one extra year of learning completely for free. I am collaborating with four other Skillshare, top teachers, really wonderful teachers. I loved their classes. I've taken their classes myself, Charlie, Jia, Maya, and Sarah. All of them have really amazing classes on digital illustration on Skillshare. So I highly recommend that you check them out. I will include all the links in the description. Together, we host a challenge given blooms. If you're watching this video into the future and you have missed this year's edition, then you don't need to worry because we will be hosting this challenge every year in June. If you follow us on Skillshare and Instagram, we will make sure to notify you. How does it work? We provide it with five amazing art prompts which serve as a starting point inspiration for you to create botanical inspires art. The more entries you post on Instagram, the higher the chances to win one year of Skillshare subscription. We announced the five lucky winners at the beginning of July for this year's tradition. And we have June 2022. Already after three days of the challenge, we have over 1 thousand illustrations under the hashtag June and blooms 2022. This is really beyond meet this challenge is really popular and it seems that you really like, and that's why we decided to host it every year. And again, above the challenge itself, you can find more information on Instagram. Each of the co-host has created an announcement post with both today it's the hashtag and all the information and the prerequisites to participate in the challenge. You can find it on our social media. I hope that you join us this year and next year, and we create some amazing illustrations together inspired by Botanical Art. See you on Instagram.