Botanical Illustration - Line Art in Procreate | Karen Ciocca | Skillshare

Playback Speed

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

Botanical Illustration - Line Art in Procreate

teacher avatar Karen Ciocca, Graphic Designer, Illustrator, Fine Artist

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.

      Botanical Line Art Intro


    • 2.

      Inking Basics and Leaves


    • 3.

      Inking Rose Buds and Flowers


    • 4.



    • 5.

      Exporting and Next Steps!


  • --
  • 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

In my Botanical Illustration Series, Line Art in Procreate gets you started in learning how line creates a form, the basics of line art drawing, hatching, stippling, different ways of shading with the line. 

In this class, the sketches are based on my previous class, Botanical Illustrating in Procreate. 

Then, in my next Skillshare class (in progress), we will take our art and create a composite piece of art worthy of printing on stationary, packaging or even a t-shirt.

This class assumes you already know the basics of using the Procreate App.  If not Please take my previous class...

Come along with me on my series and I will help you move to a new level of creative discovery!

If you have time, check out some of my favourite illustrators to see how they create line art illustrations.

I realize they are not botanical artists but we are observing the line work. 

My favourite Line art Illustrator artists are  -  John Tenniel’s look at "Alice in Wonderland illustrations",

Maurice Sendak"s "Where The Wild Things Are".

Arthur Rackham "Aesop's Fables"

Happy Creating!


Meet Your Teacher

Teacher Profile Image

Karen Ciocca

Graphic Designer, Illustrator, Fine Artist


Hello Friends!

I am presently the Art and Marketing Director at a Granola-Nut company who also distributes organic and all-natural nuts, seeds and fruit to supermarkets and chains nationwide. 

My career has been as a corporate and boutique agency in-house graphic/package designer and digital illustrator. My packaging illustration and design work have been on retail and supermarket shelves for over 30 years. Including Pilot Pen, Bigelow Tea, Perrier, Lindt Chocolate, Poland Spring, Aurora Products.  

I am also a professional fine artist and I love to paint animals and nature. Having been commissioned numerous times. 

I am excited to share my skills as a Graphic Designer and Fine Artist here on Skillshare! 

 <... 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. Botanical Line Art Intro: 2. Inking Basics and Leaves: All right, now we're to go into the inking techniques appropriate. So I've set up a studio pen and ink brush. It's just basically the studio pen. And I went into the size limits and I'm in the general and then I'm playing with the size of the maximum and the minimum size, I get a brush that I like. Just keep drawing with it to get the the thickness that you like. So I'm gonna drop box for you, and we're going to make this box look re dimensional with hatching. We're gonna we're gonna work on a cherry again some round objects. So we're gonna go over hatching techniques and stippling techniques and also the weight of the lines, how it helps your line work and we'll start hatching. So I'm thinking about the were the sunlight is coming from in which direction? And so it looks like the front of the box here is a darkest and is gonna hatch those lines in, and you could see it already is defining that boxes more three dimensional. I'm adding the shading beneath it, and I'm hatching this again. So every time you layer that hatching in a different direction, always in a different direction. You are making it, you know, darker and more rich. And he we're gonna go to the cheery, do the same thing. I'm doing the shadow, and I'm gonna do some directional lines that go with the growth of the plant or the growth of whatever you're doing or whatever the shape ISS helps to find that object. It could be a cup, and now we're gonna look at some stippling which we're not going to use in our project. But I want to show you what it is. And there is a stippled brushing procreate. I just modified mine or created one of my own because I wanted a little bit more small, little bit more dainty, maybe, and was stiffly. If you had a marker doing this, you would just keep hitting dr dot dot with your hand, which could be like a lot of you. For me. I have carpal tunnel, and that's really hard for me to dio being pain recipe Afternoon. So, um, I really love this, and that's a beautiful look, and it's very I think it could be more detail using Siplin, so I'm just gonna show you how to make radiant using lines one more time. So I'm keeping my lines very close together. And I'm slowly making a little space between them. The further out you go to the right, so that looks like a radiant. So spacing is a big thing in line work, and I'm gonna hatch again. And you could space those lines of your hatching the same way. And you can even combine stippling with your hatching, if you would want. Okay, we're gonna go on to leave Cluster. Now, we're just using the same, um, leaves that we use in our previous class that I gave on botanical illustration being I'm saying with my my studio ink brush yet again. So if I were doing this in Marker, I would need different point sizes. But procreate. Just make your own point size miners like 3.5, you know, or 1.5 and I'm going to just outline it. And when I'm not doing in this and I noticed that my lines thinking thin here. So I think that I will probably come back later and just picking up some of those lines that are closer to the stem So, Patty, my veins awesome. That looks really good. Never gonna start adding some dimension to it. With our hatching and our line work, I like to zoom in and I'm actually racing whatever little things that I don't like because , you know, if you're going to bring this into photo shop and use it for something else you wanted as tidy as you can get it, sometimes it's harder to do it in that program. When you're just right here, you can erase it. I think it's too thick. So I'm gonna go try to make this little thinner. You know, it's not working, so I'm like, What's wrong? I'm gonna go into my size limit and make my minimum a little smaller. And there we go, because before it was, the matter was stopping at the limit. I gave it earlier, so you might have to adjust that again. And that looks quite nice. So I'm just going around the form and I'm thinking about how leave curls were the lights coming from. You should put down one set of line work and then I'll go back and start hatching in places that I think if I don't like my life. Go back and do it over again and I tend to move my art board around to make it comfortable for me to see I filled in the other leaves already and and I'm adding some hatching. And look at that. Hatching does right away. It makes it just popped more. You make a little sticker. I feel like I need another pain in there. Now go on the stem and just give that a little bit of line work just to give it a little bit of interest. Awesome. That's really nice in a few last details and we're gonna work on the roses next. I'll see you in that video. 3. Inking Rose Buds and Flowers: Okay, let's get started on the roses. We're gonna start with the bud and I'm using the same 10 and I'm gonna draw my lines, like from thin to thick. So where the gravity is, I'm gonna make it thicker. So towards the base of the stems. And you just think about what part of the, um, the pedal or leaf is maybe a little more delicate. That's we wanted center line. And I'm gonna go being at some detail lines way the plant grows and these air thinner than my outer lines. My outlines and I'm starting my hatching and my bent pedals. I'm going with the direction of the growth of that. But I'm adding some hatch lines. I'm just gonna keep adding to show you the direction and how plant grows and some light and shadow all these elements together. There we go, adding more hatching. Yes, I didn't like it taking it off. And that's what's great about appropriate. You get to change your mistakes on the fly or change your mind on the side. Okay, so now getting a rose and we're doing the same process demanding my layer, and we'll just start Same thing my lines a little thicker, where they waited thinner were there more delicate. All of that helps make that illusion. If you looked at the art of like Maurice Sendak, some of these Children book artists from the past. You can see some beautiful pen in ink type illustrations and just look at how they work their strokes. And I'm just adding this Damon's some circles and I was gonna fill it in. I'm trying to keep in mind how they grow. Yeah, I decided for my pedals. I was gonna make some directional lines. I just thought it added some interest, and they tend to have some veins running through them anyway. Going around the curves and add some hatching for shadows tend to make my hatching lines all go the same way so that you know that it's not really part of the pedal. But it's more of a light thing, and that's really starting to develop now. All the shadows do you Just adding some lines around these curves really makes it look like it's turning, and I just keep adding some more finer detail as it go making decisions. You just coming out really pretty okay, that's really pretty. So in the next video, we're just gonna put all of these elements together 4. Composing: so that we have all of our elements drawn. We're gonna take our original illustrations. We're gonna put them all into one group were to duplicate that group and call it a composite group. Then you could see what I did here is I made them all white, have white backgrounds. I'm gonna show you how to do that. So we'll go back to my original ink layers and but it just take one illustration and I'm going to duplicate layer. And then I'm gonna go back to illustration and clipped the selection tool. I'm gonna go automatic and select the background and then the inverse and I'm gonna grab go back into the later Renay. That's plank and fill that with white. Now I'm going to duplicate that flower reason above that background color and then emerge the two together emerged down theory. So that's what I did for all of the illustrations. Making sure I have my original still transparent and composite ones are completely with a white background. Now let's go move into composing our illustration. So it's so easy. I mean, we're just going to wait. Could resize everything if you hit the composite layer and you could just make everything a little bit smaller if you wanted to. Some scaling everything down just a little bit so I can move it around my board. Now. I would grab each piece one by one and just late where I wanted to go. I'm just looking for a natural spray of flowers. And you could do this like five or six times if you were going to do a pattern. You can change him around in different ways. Different variations. So now this is my same leaf configuration that we made earlier, but it's a little skewed. So when you're inappropriate, grab the corners of the selection and basically skew it. But I would do it too much because you wanted to look natural because I can't figure out. See, I'm skewing it, and we don't really want to do that. You wanted to be natural, But if you want a little variation, just do it slightly, and that's gonna make your you know, one cluster leaves looks slightly different from the other one, so it doesn't look like you're repeating it over and over again. All right, so I'm just gonna place this one, and it's easy to skewed by accident by any. So happens to me all the time. That's very cute, making it different sizes. See, it's skewing again so you can just tap that button. That's an X to get it back to the original size. We have a problem with that. There we go. I just did that. I think that's pretty. Looks like I want another layer. So it's gonna duplicate this layer. So you have some of the leaves showing partially and some of them showing the whole stem threes. I like to do things in threes. So we have kind of three roses elements and have three elements. I'm number. Okay, But to get to the bottom, probably gonna slip it. You just size a little bit. It looks more natural. Awesome. So let's take our illustration just a little bit further. So I take taking my background and changing it to yellow, and I'm taking my composite and duplicating it, and I'm gonna go in my composite and turn off the other one. I'm gonna flatten this one and turn it to multiply. And now I could see the white is gone. So now I want to make it even bigger. So I'm gonna do is duplicate that and move it around. But you see, it overlaps. The transparency is we're gonna have to go back and annulled by that. But I'm gonna grab the group first and we size it so I could fit in my art board and then things around kind of robot. Then you go, We're just playing here, like to play. And now I'm gonna go ahead and unm multiply that layer. There you go. It's back to white and I like where we have everything. Sometimes you never happy. So I'm gonna take that, move it around just a little bit more, and we're going to flat in the group. There we go. And now we're gonna multiply it. Perfect. So we're gonna create a new layer. It's gonna be a background there for this, and we're just gonna splash some color on there just to see what it looks like. And I'm not gonna be even need about it was gonna play. Grab color you like, what color are your botanicals going with? Pretty pinks. Awesome. They had some yellows. Just I'm not even making it me. It's gonna be sort of looks like a mixed media piece here, re splash Colorado and stamped on top of it. And that's what I'm going for. And I'm just gonna keep adding color until I'm happy. - Oh , I think this looks great. And in our next video, I'm gonna show you how to export your work. I'll see you there. 5. Exporting and Next Steps!: Now that we've created some beautiful line work artwork, let's take it into a different program and exported into Photoshopped or make a ping out of it, or tiff or even a PdF. So what to share down below? You could see your options and you just bring it anywhere. Save your files up to the cloud or on your desktop. And here's options to replace or keep both and you're done. Now we're gonna go to the video and do the same thing. You go to the bottom, export your video, and it's the same deal. You're gonna go find your file where we're gonna put it and your folder and face in that folder. Now I hope that you followed along with me and created a nice project, because in the next class I'm gonna make we're gonna take it into Photoshopped and we're gonna make some comp, sys, or possibly a pattern or something that you can sell down the line or putting your portfolio very excited about that. And I would like it if you posted your project in the project section of this class and thank you so much and I will see you in the next class. Bye now