Transcripts
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.
Weronika Salach, Art with MAGIC
