Create a Flat Lay Hot Cocoa & Cookies in Procreate 20 Brushes Included and Other Assets

1. Intro to Procreate Coffee and Cocoa: Hi guys and welcome. My name is Dolores StatCrunch and I'm coming to you from sunny, Manitoba, Canada. The class I'm bringing you today is one of those artworks that just makes you feel good when you look at it, makes you feel all warm and fuzzy inside. It's a cup of hot chocolate with a plate of chocolate chip cookies. Now this is gonna be done in the form of a flatly, a flat lay is an artwork that you're seeing from above. So it'd be looking down on a table with these items. And so there's a course, some considerations for light sources being from the top. So that's something we haven't really done too much of, although you've done so much with highlights and shadows, I think that you're going to find this a very easy class to follow. You'll be surprised at how realistic you can get this chocolate milk to look. One of the things we'll be doing is creating a nice glossy bubble. With that bubble, we're gonna be making a brush. And then that brush is something that we're going to use to add that foam around the edge of a cup of hot chocolate. You'll be amazed at how quickly you can do this and how much dimension you can really show with everything that I'm gonna be showing you in class today. You'll do a lot of texturing as well. And I'm gonna be providing you with the brush set to do that. You're gonna get at least 20 brushes to work with to create this project. Once we have that, the hot chocolate done and the cookies in the dish, we're going to be placing those on a pattern tablecloth. I'm gonna be showing you a few of the things that you need to do to make that look really interesting. Then we'll have a couple of prompts of cocoa beans. It sounds like a lot, but surprisingly, it doesn't take as long as you'd think, especially using the brushes that I've provided. Now, if you haven't done so already, I want to remind you to add your name to my mailing list on my website or hit that follow button up there. That way you're informed of any of my new classes as I post them and anything else that I send out from my website, including artists resources that I'm always adding to. Some of them are even free. Are you ready to get into it? Alright, let's get started. 2. Lesson 1 Overview and Starting the Cup: Hi guys, welcome to lesson one. Lesson one here, I just want to give you an overview of the project. And then we're gonna be starting on that cup right away. Let's get to it. So today's project, we're going to do this sort of a flatly, this is a composition that I thought would be fun to work with, not super-complicated. I'm not sure if we'll have time to do all of the bits and pieces. This little star and ISS was actually a little bit time-consuming to do. So. We may not do that. We'll see how it is at the end, but we'll definitely do the cup of cocoa and the cookies, and the coffee beans. Cocoa beans, Sorry, and the dish, some kind of a dish. It may not be this exact dish, but we'll do that. So I wanted to just show you the different pieces that I'm using as reference. So this one here is obviously a cup of coffee, Not Coco. But what I liked about this one was all of the detail here with the shadows and highlights. Of course, the bubbles of foam that to create is created at the top here. I wanted to capture all of that in my cocoa. So this was the best reference. I couldn't find a really good reference photo for cocoa, so this will be the one that we'll use. This is my finished one. So I've done each of the components separately just to kinda keep the layers organized. So I did that one on its own document. There's a cookie and we're gonna do a couple of different things that I've done since then to add a little bit more realistic texture. And of course that's the dish this is referenced that I used for that star and e. So you can see the drawing of it here. And same with the beans. Now these are, I'm not sure if these are cocoa beans. I'm pretty sure they are. So that's what I use for reference. So you can see my finished cocoa bean here. So that's what we're gonna do and put the whole thing together in the end, like this in a composition. That kind of gives you an overview of what we'll do in the entire class. I'm going to start with the cocoa. So I would suggest you do a document ten by ten that's more than adequate for what we're doing. And that's at 300 pixels per inch. I'm going to clear the color palette here. I'm not going to really work with a palette, but I guess we could set one like this with a lot of browns as the default. I don't know what that's not even quite the cocoa color that I want. So we'll be making some changes there. Main brush that I'm going to be using for this drawing is the Posca paint marker. So let's start by just kinda creating the cocoa cup itself. I would personally like to have my reference available to me while I'm working. So I'm going to go to Canvas and go to reference. And I have saved those into my photos app so that I can import the image here. I guess I don't have that particular one. We could work with this one as well. I think, I mean, the basic idea is going to be the same. Actually this one is not a bad reference here for the foam. So let's keep that on the side here. I can also go back into my gallery here and go to this one and export it or share it as a JPEG. And I just need to go right here to Save Image. And that's going to save it right into my photos app and see it here. Actually have excellently done it twice. And now when I go into procreate and let me go back to my new document, I could take this one out of here. So let's just move this up here and clear it. Go back to import and import the one that I would prefer to work with. So that's nice and big and we'll just keep that over to the side here. And now we can start working. And like I said, we're gonna be using the posca for a lot of the drawing. You can decide on what color of a cup that you wanna do. I kinda did a beige colored one. Maybe I'll go a little bit more gray this time. And the first thing you want to do is to, well, I'm gonna go a little bit darker too, so it's easier for you to see. First thing you wanna do is create the main large circle. So I've got my posca set at the thickest setting at the moment, you can go in and also adjust that one by going into the properties and just going a little bit bigger, don't go to much bigger. And let's see the thickness now that's a nice thickness for what I'm looking at is the top of the mug. Okay, so let's draw the circle. That is not a very good circle, but if I hold my finger down, I can get An ellipse and then I can click on ellipse here and circle, and that gives me the perfect circle. I actually need to make this a bit smaller so that we can fit that handle in liters. So I'm going to move that over to the side here for a second just to see and I think I can block in that. No problem. So next thing I want to do is to build out some highlights and contours on it. The method that I'm going to use is to add another layer. I'm going to go with a pure white this time, I'm gonna make my brush smaller and something like that thickness would be good, maybe even a little bit smaller because we're going to be blurring this. So you're going to make your circle. Yes, I know it's difficult to perfectly line it up, but we can edit the shape, make it into a circle. And then with the circle, we can move those individual points until we have it as centered as we possibly can do it. Okay? So now what we wanna do with that one is to blur it. So you can see that as I blur it. And I'm only at about 6% there, five or 6% as I blur it, that helps to give that what looks like a contour on the very rim at the top. So you can see that's a highlight and then the outside edge is a shadow. I think that's worked great for that. I'm just wondering if I think the thickness is enough and I'm thinking I want to go just a bit thicker. So rather than redraw it, I'm going to duplicate that one and go a tiny bit smaller. And that gives me that inside edge that looks like it's going down towards the foam from the hot chocolate or coffee. I think that size is more suitable. You can put on your snapping and you can use the snapping to help you align it. So I think that looks pretty good. And now we've got the beginning of the top of a cup of coffee. The next thing we could do here is to draw that little handle. So what I'm going to do there is go back to that same gray so you can either sample your gray or if you were guessing, you can guess to the approximate spot. And I think you don't have to be absolutely exactly the same for this. And I think I'm gonna do this on another layer. And actually that layer could be pulled to underneath because that will allow me to not worry about that one edge. So for this, I'm going to draw straight lines. So I'm going to draw a line and hold, draw another line and hold. Now if you wanted to, you could actually duplicate that first line. It's completely up to you. And then I'm going to join the two. And of course you want to join this side too because you're gonna be wanting to fill it. So hopefully that filled it, that close that I should say, you can always turn these off to make sure. And then let's fill it with that color. Now we're going to do basically the same trick. We're going to draw a white section. So switch to white and draw yourself a line and you can make it bigger and you don't have to worry too much about straightening that one out. We're going to just experiment with the one line first and we'll apply that blur. You know what I did wrong? You should have done that on its own layer. So we'll try that again. I don't think that's gonna be wide enough, but let's give it a shot anyways. And you see it's just way too narrow so we're not able to get that contour that we want. So you could draw yourself a more substantial shape and then go in and blur it. And again, you're not blurring it too much. You're blurring it until it looks right. That's my idea. And 16, 15, 16% seems to be good. And I'm thinking that I'd actually really like to round the end of this, so I'll probably do that in this next step. I'm gonna go back to that color. Hopefully I've got the right color. Let's turn off the white and then when I sample it, I know what's right and then I can go nice and large because I've got such a chunky brush. I got to start a little ways in, but I can make my curve and I can hold it at the end to make sure that I make a perfect curve and that connection isn't perfect here, but I can go smaller here and kind of rough it in. And of course I could do the same thing. Let me just make sure I have that same marker hoops as my eraser so that I get a nice sharp line there. And you can do the same thing with any racer line by just holding your stylus, you can get a nice straight line there. So let's turn on our shape or highlight there. And I think that has worked great. Now, I would like to bump up the shadows a little bit. So I'm going to add a layer that's going to be a clipping mask. And then I'm gonna go to my air brushes and I'm going to go to a soft airbrush and then I'm going to make a darker gray or use a darker gray here and a fairly big brush because I want to kinda go in from the outside here. And that gives me a lot more control. So I'm able to put a deep shadow in there. And I know that there would be a really good shadow in here in this area. I see what's happening there. My white is above that, so I would actually tuck that in and it becomes a clipping mask, which is fine, or Eclipse clipped layer, which is perfectly fine. So that has definitely made it look even more contoured. I think that that's probably something that we'll do is go around and add a bit more shading to the outside here at some point. For now though, that has given us our basic shape. And I think I'm ready to start working on the coco, which we can start doing in the next lesson. Alright. I'll see you there. 3. Lesson 2 Cocoa with Highlights and Foam: Hi guys, welcome to lesson two. So already we're at the stage where we're gonna be adding that cocoa with all of the foam and the bubbles. Let's get at it. Okay, so our next stage here is to add the fill, so that will be the cocoa. And hopefully we'll be able to get through doing the background, which is not too hard, and adding the foam, at least getting the base for the phone, we might not have all the bubbles. But for now I want to just do the fill. And I'm thinking that I want to orient my reference like this so that it's the same as what I've got going on here. I might do the foam differently, but I want to do this highlight in the liquid itself. So I'm going to sample that color. It's not the right color for cocoa. So let's bring it into more of a round. And I think it's more of a Reddy brown. We'll try this one and we can always alter it, of course. So I'm going to use the outside rim here as my means of selecting. So I'm gonna grab Bye automatic selection and make that selection to the inside here. But I want to definitely make a new layer. So where should I put that? I guess I can put it right above the other stuff to do with the handle and let's just drag that in and fill it. So what do you think is that a cocoa colors are a little bit too dark. Maybe lighten it a bit. And I think that'll work for now. We need fairly dark. I want to put this highlight in here. So to do that, what I wanna do is a new layer, of course, and I'm going to draw it in white so you can see it. We're gonna make some adjustments of course, but let's do a half circle. What brushes I got going on there, back to my monoline brush. And I'm going to do a half circle and kinda get that roughly positioned the way I want it. And I'm holding my stylus down just to get that smooth curve and I'm going to join it across this way. So I probably should have gone a little bit further. I think it'll work anyways. Let's just join that up and we're going to fill it with white. And then what we need to do is create that kind of a gradient. So first of all, I'm going to slightly blur so that, that outside edge is a little tiny bit blurred like that. So that's only 3% or so. I think we can accomplish that shading by using a soft airbrush. So that's gonna be my eraser and let me just turn it so it's easier for me to be That's way too small. I'm gonna go to pretty much the largest and I'm going to start out here and I'm going to just work my way back and forth until I get that soft edge. Now, in my opinion, that's way too small. So I'm going to go back to this stage, go back to my Posca marker. And I'm going to do that again. So I'm going, why don't I just clear this layer and I'm going to go almost halfway. That's a terrible curve. But luckily, luckily I can edit it, so I've just grabbed that so that I can, I want it to match the outside edge. So that's good for me. And let's go across this way. Make sure you don't have a little opening there. Drag it in. We'll soften it just a little bit to start out with. That might be too much. So probably 3%. And let's go back to that same erasing if you want your eraser bigger. So I've got it right now with the maximum over here, I can go to the properties and just bump that up a little bit. You don't have to go too much. You'll see that already. That's gonna be a huge brush because it's still at the top there. So you can go down a little bit if you want that. It's nice because you can do a more even sort of adjustment. You can go a bit smaller to round out these corners here. And I think that we can, just to get it to blend a bit, I'm going to reduce the opacity. The only thing is now we're losing that pure white there. So what I would do here is duplicate that layer over top of the other one. Then we can do that same thing again, nice and big. And I can just make sure that I leave it a little bit brighter on that side. Okay. I think that works. So it looks like a really shiny surface, nice and wet. You can definitely play with your opacity just until you get it to what you think looks good. So let's do that. The base for the foam, okay, So again, we're going to make a new layer. I'll make it below those two, but above this brown here. So let's add the layer. And this time we want this kind of foam, foam color and of course is going to be different for hot chocolate. I'm going to sample it and just go a little bit redder. Again. I'm going to use my posca pen and let's go back down here. And this is totally up to you as far as the shape of this area. So you're going to want to have some wider area so you can put bigger bubbles the end and then you're going to want to have some narrow areas. I'm gonna make my marker bigger and I'm also going to go in on that and go to stabilization and make sure that I have this set nice and high. That's gonna give me smooths, really smooth curves when I draw them. So you can use the power of the program. So I've kind of got that. The first part here. And I'm just going to join into that and make some kind of wider areas here that will hold my bubbles. I think maybe I'll taper this one a little bit in this direction. So you get that wider area. And I've gotta put a full circle here. It doesn't have to line up perfectly because all it's there for is to allow me to fill. So I'm not sure I like that color that much. So first of all, let me just fix this spot right here. And I'm going to go into hue and saturation and try to play with my color a little bit here. And I think that's a bit closer to what I am envisioning and I do want it fairly dark. So the next thing I want to do with this is to show a little bit of dimension so that this looks like it's rounded on the edge. So for that we can do a couple of different things. We can duplicate this, select the bottom one. We can just kinda move it over for a second so we can see and go with a hue, saturation and brightness and just kinda darken it. So I'm desaturating it a bit and darkening quite a lot. So you can see there's that little bit of an edge there and we can blur it slightly. We can also blur this top one a little bit so that it'll blend down a little bit into that so you can see what that's done. So it's got what looks like a bit of a ledge and I think we could duplicate this bottom one. Again. I'm going to drag that one below. I want, I want to just leave this one below. I'm going to darken even more. Let's move that a little bit so you can see it. Now, I know that these colors are making it really difficult for you to see what's going on. So I also will go back in and darken that even more. So you can see that that's quite a lot darker. I'm going to move that back in a little bit. But with those three layers now, I feel like it really looks like there's kind of a curve going downwards towards the main amount of cocoa. So that's basically what we need as a base for doing our bubbles. I do want to add a little bit highlight here, so I'm going to sample this color. Let's go brighter but staying neutral so you don't want to go brighter this way. You want to go to more light but still kind of neutral. Then we'll do a new layer above this layer and take the airbrush again, which I should have here is my, one of my reasons. And I think I'm going to add a little bit of a highlight around this outside edge. So I'll go a little bit smaller. And right now you can see it's leaking out over to that side. We can make this into a clipping mask and then it'll just clip and only where I want it. I've got a bit of a highlight here, a bit of a highlight here. And then I'm gonna go a little bit darker and just kinda put a little bit of darkness around that spot there, that edge, because we also want the contour to show on the outside. So the other way you could do it is to add a layer with your darker color. Let's go even darker for a second. And we can take the pasco and I'm going to switch Posca paint. There we go. So it's kind of hidden. It doesn't have to be completely hidden. But I've gone all the way around here. I could have gone a lot wider with that, but I think it's gonna be okay because I'm going to be applying the blur and you see what that does, I should have done a little bit of an adjustment here. I can do a work maybe to just bring it. But you see how bringing it to the edge. But now it also looks like that foam has a curve on the outside edge. That's basically what we need now to go onto the next step, which is going to be the bubbles. So we'll do the bubbles in the next lesson. I'll see you there. 4. Lesson 3 Adding the Foam Bubbles: Hi guys, welcome to lesson three. Less than three here we're going to be finalizing all those bubbles in the foam. Let's get to it. So our next step here is to add some of these bubbles here. And for my sample one that I used for my titles, I created a bubble. You can't really see it here, but let's go into the shape. And that's basically what I had and it works just great. So I'm going to show you how to make this. I want to make a second one anyways, because then I will have two different bubbles that I can put together. So I'm just going to grab all of this stuff and put it in a group so that I can temporarily shut that down because this ten by ten document is actually perfect for creating the bubble. I'm going to also enlarge here so that I can see one of these bubbles a little bit more clearly so that I can create one similar to that. I'm going to stamp one here just as a bit of a guide. So it's fairly small. I'm gonna go in here for now and I'll temporarily make it bigger. You guys can use the one that I'm supplying, but it is a really good experience for you to create one of your own. So this is my sample. I'm just gonna put it up in this corner for now, so we can use it as a guide as well. So we can look at this bubble and my brush here just for a guide. So the first thing I want to do is make a new layer. And I'm just going to work in black and white because we can assign a color to it when we actually lay down the bubbles. So let's start with a better get an actual brush and start with a circle. So the usual draw a line, hold it at the end, then go into Edit Shape and make it into a perfect circle. You can see here that I've got it divided in half with a darker section in here. Can you tell from the look of it there? Let's start by filling it in with just the straight black colors. So I'm going to just black in. Then I will duplicate this one. I'm gonna go to the lower one here, and we're going to put a slightly lighter color in here. So let's, we want to stay in the grays. So I'm pulling it a little bit away from the edge and I'm dropping that down in there. So if I move this top one, you can see that the other one is there. It's just a little bit lighter. And what we can do is pull this dark one over until we have that sort of a crescent shape that we need. Yeah, right about there would be good. I think we can use this as a selection and we can eliminate this background. So we can do that by going to automatic selection and then going to this layer here and using it to. So that's one of the ways you can do it. The other way, of course, would be to just go back, would be to put that darker one over to the side and just designated as a clipping mask. And that's probably faster and it's less destructive. So we're able to just move it around if we need to. We still have the full circle there. That's the way I would recommend that you do it. You can also then use this to make different variations of your bubble if you need to or want to. Alright, so then the next layer is going to be my highlight. So for that I'm going to go with white and I'm doing a nice heavy posca line and we can hold it and get that curve nice and smooth. And for this bigger one, I'll do a much thicker highlight. And you've probably guessed what we're gonna do next to fade them out. And that's to get the soft air brush as an eraser and nice and large and we can just erase out one end of it there. Now this one, I think I'm going to separate these two. I should have maybe done them on a separate layer, but I want to just kinda readjust. I'm going to use the warp actually because I feel like that didn't curve enough there. And you might find that this line is just a little bit too fine when you do your whole like make them smaller and use them to do some of this field. So you could likely make a duplicate of this right away. So let's do this all into a group. I'm going to make a layer at the bottom here that's all white because we're going to need that for our brush. And it's okay that it hides this one because this was just our, this was just our sample. So I'm just gonna get rid of it. And let's take these three and make sure that we've got that perfectly centered. So I've got the snapping and magnetics on. And right now because I've got that other circle there underneath, it sees the edge of it as part of my selection. So it's not letting me perfectly center this one. So what I'll do is select just this one, snap it to the center. So you can see that that's the center because it's got that yellow line and there's my other yellow line. Close it off. Very close. Doesn't have to be perfect because it's not going to have to be super accurate. Then I'm gonna take these two and reposition them, take the snapping off and then I can put them into position. That will be my one brush. So I'm going to actually duplicate this now. I'm going to get rid of those white highlights. So delete and we're gonna do the highlights again and go quite a bit bigger. So I've got my posca at the biggest it can go. And that's still pretty thin. So let's go into properties and that looks pretty good. That's a lot bigger than the other one I had. I'm gonna go even bigger here for this side and I think I'll even go to more of an extreme. The bigger these highlights are, is the better these little bubbles, or these will be as little bubble. So when we start doing some of these little tiny ones, we want this to be nice, enlarge, I'm gonna go even bigger. And you don't have to necessarily go into properties to make it bigger. You could also just do one line and then add to it to make it thicker, we end up releasing that side of it off anyhow. So let's just make both of these nice and thick and go with my airbrush and just erase that out. So this one is just a contrast to the other one back to my marker. And I can round this out a little bit more. And I kinda done the highlight the same as I did on the other one. You could also do things like, Let's get the posca as our eraser. We're gonna go smaller. And of course now it's really large because I went through and resize it here so large, I'm going to reduce that down again. And then I can do this with my, this particular highlight. This can be a perfect circle if you want it to be. And I see a mistake I've made there is that I've got those lines drawn on this highlight layer here. Luckily I caught that so I can just use my soft airbrush and just erase some of this extra stuff that I've got going on here. Actually, I'll use the black and add. And believe me, this is going to be so small that it really doesn't matter. And I think in this case, I might even choose that to lighten that layer a little bit. So I'm gonna go to curves and I'm brightening it. And you mainly see it here in the brown, so that's a little bit highlighted, little bit lightened. And now I've got version two of my brush. So these need to be flattened, flattened, flattened, and we're going to copy that top one. I'm going to go into my brush. I'm gonna duplicate this one, go in, going to Shape, Edit, Import and paste. So I've got one bubble that's an alternate. And let's turn off that layer and we can go to this one copy or is that the one I did and I think that's the one I did. So let's copy this one, duplicate this shape, Edit, Import, paste, and we've got bubble number two. I think I need to make these a little bit smaller. Well actually let's just leave it for now. I'm thinking about the preview there in the brushes that I guess I can change here and just make that preview a little bit smaller. Didn't really change much there, but we've got our bubbles. That's what I mainly needed to do. Now we can actually, well, let's just keep those for now, but let's go into our artwork and let's just give these a shot. So I'm going to make a new layer above all of the other layers. And let's test this out. So I'm going very small and I need to go waist smaller here in my brush. That's what I should've done to make it show in my studio. What was I thinking? I had? I was looking at the preview only and not this for resizing, but that's what I need to do. Let's grab this one here and see that size is pretty good. So we can go in and let's sample. I'm going to go smaller here so we can see, but I'm going to take a very dark brown and start putting in my bubbles. Now, there's no white highlight on there. So what we're going to have to do is a little bit of white background once we have all our bubbles in place. But for now I'm just going to put a few on there. I'm definitely going to be varying the sizes and varying which bubbles I use. Let's go quite small with this because that's the one with the bigger highlights. So it would work well to show the highlights, but at a smaller size. What I wanna do here is really vary. Because you can see here when you look at the sample that there's all kinds of different sizes. So you can kind of build up little groupings. You could also go into the shape here and you can put the rotation on so that every time you draw, your highlight is a little tiny bit different. I mean, technically we should have a light source the same everywhere, but it actually, you're never gonna look at one individual bubble. Believe me. I'm gonna go smaller here again so that I can start making some of that teeny tiny bubbles. And basically this is what you do. You go through and you make little groupings of bubbles, do your best to vary the sizes so that you don't have the exact same size in these little groupings. It's nice to vary it and you can kinda slightly change your color a little bit, go a little bit darker or go a little bit lighter. And like I said, try to vary the bubbles so that they aren't all identical into this one. And way down in size, I'm going to go through and do that. I will fill out my ring and you can do the same. And then we'll come back together and we'll do what we need to make those bubbles really stand out. Alright? Okay, I think I've done enough bubbles here to consider it down at least for my next stage. When you really look at this, the entire thing is made up of also, of course, we can go nuts and add them all. But I think we can kinda give the suggestion of those bubbles just by using texture in our next stage. So for now I think I'm ready to show you what to do with these to make them stand out a little bit more. But let me take a sip of my coffee. I bought one of those really good cream milk followers. It's not the little time that you stick inside like a little blender. This is a whole machine and it was one heck of a discount because we were at one of those bins shops and how they buy all the Amazon stuff that's been returned. And we went on the day that products were $4 for anything in the store. And I've got one of these and when I got home and check the value of it, It's worth over $60. So I got quite a bargain that day. Alright, enough about me. Let's now do what we need to do for this next step, which is to add a little bit of white in those bubbles. So I'm gonna use the automatic selection and select. That looks pretty good. Actually, what I need is for it to select everything on the outside of the bubbles, but not anything within the bubbles. So my setting looked like it was at about 25% or so. I don't want anything in the bubbles to be selected because that's what I want to turn white. So I'm going to invert the selection. So now it's giving me all of these little circles in a selection. I'm going to add a layer beneath those bubbles and choose white here and fill the layer and see immediately how absolutely shiny those look. So this is without it, and this is with it. And you can see that really makes it pop, really gives you that shine. That makes a bubble really stand out. Now, it's much brighter than what we see here. So of course, what we can do is tone it down a little bit by reducing the opacity. This is with nothing that's at about 50% and that's at about 100%. So I think if we're right around 50%, 50 to 60, it gives enough of a highlight to really make those look wet and shiny. We're getting there. I think we're getting to the point where we can almost consider the cup and the bubbles in the foam and everything almost done. Which is good because we have two or three other things that we need to start worrying about drawing. So maybe let's just put this one aside for now and go ahead and start our next part of the project. So let's just get out of this one and I'm thinking the next thing we can work on is the cookie. 5. Lesson 4 Starting the Chocolate Chip Cookie: Guys, welcome to lesson four. And Leslie, for here we're gonna be working on that cookie. You're gonna be doing a lot of work with shadow and highlight. And we're going to have chocolate chips and that look like they're melting and shiny. We're also going to be adding a bunch of texture. Let's get started. I'm thinking the next thing we can work on is the cookie. So what I did there was to create a new document also ten by ten. And I'm going to do my drawing. You can outline with whatever is comfortable for you. You could use any of the just basic inking brushes that you have. Or if you go back to which class it wasn't I don't think it was this one. No. Oh yes. The cactus class get that dry ink brush. I'll maybe just duplicate it right now and add it to this set so you don't have to go through the trouble of trying to find it. This dry ink brush is nice because of the texture that it has. So I'm going to get a nice creamy beige color, but let's actually get a reference image here to work with. So I'm going to import the chocolate chip key references that I have. So I don't know this one is probably better, just isn't illustrations. So it's somebody else's art. But what? We're not going to copy it directly. We're going to make enough changes to it that it's not going to look like that really, that much. We're going to change and do our own version of this completely. We're not tracing or anything, so I think we can legally use it. We want to start out with a like I said, a soft beige colors. It's pretty much exactly where I had it in that area. There. Here we go. I'm just kinda drawing and irregular shapes. So you don't want to do this. You want to keep it quite irregular looking and we can fill it. That's gonna be our base image for our cookie dough. As you can see here, there's a lot of texture and there's a lot of debits and sort of cracks going through it. Let's make a new layer. We'll get a very dark version of this. We don't want it to be green though, so we want to make sure that we're getting a little bit warmer. I've moved this over a little bit more to the orange and I'm grabbing a fairly dark version of it. And we'll start by just putting in a few cracks. We're going to do some adjustments to these, of course, to make them really work. But if we even start with this, I find that it's easier for them and placing our chocolate chips and whatnot. Let's add another level here, and we're going to start drawing our chocolate chips. So the chocolate chips, I would switch back to a nice, hard and smooth brush. So I'm gonna go with my posca at about 50% size there. And I'm just going to draw, and I'm using that same kind of a dark brown. I'm going to draw in what will be my shapes, and of course try to keep them irregular. Don't think too much about what the chocolate chip looks like when you buy it from the store. You don't want it to look like that. You really want it to look like it's kinda melty. So put as many chocolate chips in there as you would like. We can go back to that other layer and go back to that dry brush and maybe incorporate some of the cracks around the new opponents here so that they are tied in a little bit better. And so now we're getting to the point where we've got the competition kind of like we need it, but we have a lot of work to do in getting these to look realistic. So our next step is going to be to add a clipping mask. So we're adding another layer above here, make sure it's a clipping mask. And then we're gonna go a little bit lighter and I'm gonna go a little bit redder with my brown. So I'm looking at the individual chocolate chips now. And we're gonna be doing highlights and shadows that make it look like it's three-dimensional. So we're going on the one side here and kind of adding a lighter section of brown. And remember to try to keep them quite irregular. But you can also see that the way these are drawn is that sometimes they have a bit of a cup shape, which then makes this part right here look like it's higher. Don't overanalyze what you're doing, but just add some highlight on that side. And then you can also see that there's some really deep block in there. So I'm gonna go with my tapered pen pressure brush. Let me find it. Immediately duplicate it and put it into your set here. And with that one, we're gonna go pure black. So I want to double-click on this edge to make sure that I have pure black school about halfway and see how that size it says it's kinda small, simple goal or three-quarter size. And you can see here that the, this side, so the left side has more block on it. So you can see it's very subtle, but it is giving a good illusion of block. And those can come up to a point or they can they can cut across like that so that they are darker. Sure. I'm still on my pen pressure. I'm actually going to draw a couple of lines like this in here. So those are sort of like V-shaped or pointed. So they're coming up to the center. And really, if you want to check to see how your shading is looking, you could go into this, which was the base layer for the chocolate chips. And you could brighten it a tad to just kinda see all those little details that you've put in. I'm just going to leave it dark because that's what I want there. And I think my colors a little bit greenish on that one, on that layer. So I'm going to slide see if I go this direction, I'm turning it more green. So I'm just going a little bit to the left, which I've got it at about 42, that made it just a little bit more brown. You may have you may not need that step because you probably mixed your colored correctly in the first place. Okay, so now I'm going to sample that lightest color there. So that's a light brown and I'm gonna go quite a bit lighter and a little bit redder. I could sample it from here, but I personally like figuring things out like this for myself. Cool. Choose the clipping mask layer and just add maybe a little bit more to the highlights on that side. And then now I want to put that shine on there so you can see that these have all had a little bit of white put on just to make them super shiny. And that's really giving that illusion of melting happening. And I'm still using my tapered pen pressure brush because then I can press a little bit harder in spots to get thicker. So I'm doing thick and thin. You can do it as a solid line. You can break the line here and there. You want to do them all a little bit different, but you want your consistency on your line. If you make it that thick over here, then you want to make it that thick on the other ones as well. And a lot of them have highlights along the side here. So you could add a little bit to the highlight that you put on the side. Those can be in dots or lines. I think I prefer the lines, but I think that's starting to look quite shaded, which is really nice. The other thing I want to do now get that shading around the chocolate chips. So I'm going to duplicate this layer and this bottom one I'm going to select and I'm going to fill, let me just get a pure black. I'm filling it with pure black. So if I were to move this, you would see that there is that dark black there. And what I wanna do with that one is blur it to give that little bit of dimension and depth beside each of the chocolate chips. So we're not done with the shading at all. We have all of this extra stuff to put in here. And I think this lesson has gone on long enough. Let's do that. In the next lesson. I'll see you there. 6. Lesson 5 Finishing the Chocolate Chip Cookie: Hi guys, welcome to lesson five. We didn't finish everything on the cookie in the last lesson. So let's get all of those final details done in this one. So at this point, what I wanna do is start adding some of that other sort of texture and dimension here because it's looking so flat. So let's start with some of the textures that I am including in your set. So I've already gone through these two. It's kinda decide on which ones might work and you might have other brushes that will work as well. So I'm going to start with this crackly and textural one. So that's what that looks like when it's painted. And also, this one here is a great one for what we're doing here. It says fibers, but it's kind of a marbling. But that also starts to give more of that impression of all the dimples and divots that had an actual cookie would have. So I'm going to do all of these with clipping masks. So I'm adding a layer above and this one I think I'll just do in the color that I had there because I think that looks pretty good. You can also choose to go darker and then go in on your brush and don't change the grain, but go into the properties and make the brush itself smaller so that you can use the dark and go in on some of these and your brushes small enough that you can control it and you know what, those even looked better than the ones that I did by hand. So I'm wondering if I should just eliminate, eliminate those for now. And let's just do a little bit more of working with this crackly texture. That's a darker brown. But if I were to go pure black and some of these areas, I could get really deep looking divots here. And you know what, I like that way better than the ones that I did by hand. So sorry, I lead you astray there, but now we've got a better solution. That's what I love about the brushes. I mean, they're full of surprises for the kind of things that you can do with them. But I like this a lot better. So let's also switch to big texturize or that I had. Well, let's look at this crackly now this is a little bit different because crackly textural one has those little dots that make me think of like this area that is illustrated in here. So let's maybe use that and go to some kind of orangey or rusty color and just add a bit of that here and there. So I'm being very selective and not doing very much. But I kinda like how that's giving those little bits of dots and then also that additional color. And then the one that I want to use for my main textures like around these edges and stuff is this big texturize or rust. Now, it's rust, but it seems to work for these cookies. So let's so a lot more orangey and start putting some of that in. And I'm following the lead of this other artists in getting this one side a little bit darker than the other. And I definitely want to go in and darken that outside edge to give it that contour. Why don't we try doing that next? Why don't we duplicate this one? I'm going to bring it on top of everything temporarily. It looks awful. I don't want it to be a clipping mask. What I want to do with this, I got to replace this as a clipping mass. Hang on. What I wanna do with this one is fill it with a really dark brown. I'm just showing you an alternate way of doing the shading that we normally do with the airbrush. I want it to be a little bit more textural, so I'm doing it this way and it matches perfectly. Then what I'll do is take a freehand selection and I'm going to take a lot of this inside-out. I'm going a little bit deeper and darker or wider on that side. This time before I remove that, I'm going to feather it. So I'm gonna go to this feathering down here, and I'm feathering at about 10%. You have to de-select feathering before you can do your three fingers swipe down. Then I'm going to do my cut ten. You see what that's done is it's allowed us to use the exact same shape, but use a feathered edge selection to remove what we don't need there. So now I can actually slide this back down here. Now it's a clipping mask, so it's perfectly aligned. And we can reduce the opacity of it a little bit. I'm going to have it about there. So that's about 50%. And what we can do here is go into the adjustments and go to noise. I'm going to increase the size here so you can see what's happening. I wanted to really get this to look grainy. So that's a bellows. Okay, here we go. I've got it. I've taken octaves and turbulence right down, and I've got the scale at about 8% and I'm on clouds here, you can experiment with different ones below those ridges. I kinda like clouds and I'm bringing it right down so that, that is slight texture. And then I'm going to check out my different blending modes to see what might work there. And that orangey color isn't bad. That's what Color Burn go through all of them to C, but I think we're going to have to stick into the burns selections for this. So the burns are basically the top few here. Color Burn actually seems to be the best, but the color is now a little bit too intense. So we'll go into hue and saturation, desaturated, brighten it a little bit. And I'm really changing the hue here. The more saturated you do it, it's kinda doing the opposite of what you'd expect. So the more saturated is, the more muted it becomes because of the color burn. That's kinda helped us to get a bit of contour there. And we can also still go in with another layer. And it's funny how it looks purple here. I'm going to use spatter on this next layer to just kind of add some additional texture around the edges. And that kinda works for those little dots I was pointing out here. I'm going to do this edge first and I'm still gonna go in with my soft airbrush and a darker brown. And I'm actually inking on way on the outside here. And just a little bit of it is transferring into the cookie itself. So you can see that this is a process. You definitely have to go through a lot of steps to get it to look as textured as that one is. Let's try these lines again, and I hate those now. So I'm going to clear this layer. I'm going to keep the layer though, and I'm going to go back to that brush with a dark brown. And instead of doing alternate lines, I'm just going to darken up some of the ones that are here to make them look even deeper. So something like this and this dry ink brush that I created is different than the dry ink one That's part of Procreate because I've also got it so that it has pen pressure so you can press harder and get thicker lines. So I kinda like that. So I'm working with the lines that are there and just emphasizing some of them just a little bit more. So we're starting to get some divots similar to what we see here. And we can go in and also add another clipping mask layer and do a little bit of shading near some of these. And you can use your, any combination of the different brushes that you have here, get them fairly small. And remember that you can put a blending mode on there. I'm going to use, I'm going to try multiply. That, keeps it in the same color category per se. And just going around and adding a little bit more here and there. So I'm going to go a little bit darker. And really at this point, you know, you're, you're just observing. So take a look at your cookie. Decide on what kind of highlights and details that you want in there. And then just go through and carry on like e.g. one of the things I need to put in here now is some real highlights. So I would then switch to white. You could do it on the same layer or you could do another layer. These can be all clipping masks. They don't really need to be because they're not going to the edge. But if they do go to the edge, you've already got yourself kind of protected. So here I would maybe he'll put some brighter highlights and just kinda go through and perfect the look of all of the highlights and shadows. So don't hesitate to use anything in this sort of color range. So you've got yellows, browns, oranges, go through and do whatever you need to do. This one is still one normal, so I'm going to think I'm going to switch it to linear burn. And I'll take a little bit of time off camera to perfect my cookie. And there's anything else important than I think of. I will let you know in the next lesson. Alright? So I'll see you there. 7. Lesson 6 Cookie Details & Creating the Cocoa Bean: Hi guys, welcome to lesson six. So there's always little details that you can add. We're gonna do a little bit more to that cookie and then I want to work on those little cocoa beans. Let's get to it. The other thing I wanna do here is just really focused on doing some of those highlights. Again, I've done a blending mode with this layer that I had originally had as my highlights, because it works better for that sort of a yellowy color. So now I'm just going to add another layer again and make it a clipping mask. We're back to white or almost white. So this, this would be white. So I'm moving just a tiny little bit over to get creamy white. And I'm going to put highlights and really focus on those really deep areas that I had. So the way I've caught the cookie right now is the highlights kind of came in on this side on the cookies are on the chocolate chips. So I'm gonna do the same thing with my highlights. I'm going to just paint in a little bit of highlights here and there on a long alongside any of the deep divots that I have. And then you can use it to just lighten certain areas. Mean it's not rocket science. Nobody is going to be looking at it super closely, but it's just the way to suggest that you've got that kind of changes in the surface. So it depends on how you cook your chocolate chip cookies mind don't normally have a lot of this sort of the bridges minor or a little bit more flat looking. So keep that in mind. Every chocolate chip cookie is going to look a little bit different. Now I'm going with just a tiny little bit of a different shade of his cream color. So if you were to select that cream color, that was your base and then go just a little bit darker and deeper so that you can get some of these areas just looking a little bit darker, which tends to make them look like they're dipping in a little bit more and alongside something like that, which is a really deep, you could go to a deeper kind of shading. I'm going to put a little bit of shading on this side of all of my chocolate chips. What you can also do is apply noise to it as well so that we can, Let's take a look at it close up. We should have those same settings. As far as the noise goes, we'll just leave it. And as I pull you can see that that becomes textured start sort of modeled, which works nicely to help it blend and to not look like it's shiny, we want it to look organic. And I'm going to make one more layer. I'm going to go even darker, little bit smaller. And wherever I had those dark areas, I'm going to even darken a little bit more. So this takes a bit of practice. I would say, you know, you may wanna do more than one cookie just to sort of get the real feel for how, how exactly to do the shading and the highlights and experiments. And we've done, I've done the tonnage cookie here. So it's more than big enough, has will definitely be reducing it in size when we bring it into the main layout with any of these other layers to, you can go back and if you wanted to darken some of the spots along the edges. And when we have this in our main layout, we're also going to be adding a drop shadow to the outside of it to make it integrate a little bit better with the dish or whatever it is that we place it on. So I'm going to call it the cookie done. I'm going to just leave this document for now. We're going to also create a new document and look what a difference between these two cookies. So this is my original attempts, and to me it looks a little bit to sort of smooth. So my new attempts, I've got a lot more texture on it, which I really like. Even from one day to the next, you could easily have your components look different. The cocoa cop, we've got the cookie. Now let's go into this document here, which is the one that I used as reference for drawing start and east and my cocoa beans. You can kinda see what I did here with the cocoa bean. Let's just open that up and you can take a look. I've got the solid, that's cool and hide these other layers. So that's just a solid dark shape. Then I added some highlights and shadows to it. Then I added texture and maybe a little bit more highlight in here. And then finally, I use that same crackle to add cracks into it. Let's do that together right now. We'll start with a deep brown. So I'm going to choose that brown there. I'm gonna go with my mono line, which is my posca pen. And it's probably gigantic right now. It looks like adhere in the preview. So I'm going to reduce that down to a normal size again. And let's just draw a basic shape. We can mimic any of these shapes here. I don't think there's any real rule as to how an actual cocoa bean looks. And some of them are quite jaggedy on the outside. So I'm not even going to fix that little kind of flaw that I have there. I think that's just fine. We're going to add a new layer. We're going to make it into a clipping mask and we're going to go dark. And let's get that soft airbrush and less just. Airbrush around the outside edge of it. When I'm doing this, I'm kinda evening to the outside and then just gradually working my way in so that I don't get it too heavy. You know, there's definitely a highlighted area there. My color maybe a bit too warm, but I actually kinda like it, so I'm going to leave it like that. Now we can go for a white airbrush. We're going to keep it on the soft airbrush and we can go smaller. And I'm really gingerly drawing a couple of highlights on there so they're not deep highlights. We can always go back and make them shiny or after or make it more prominent. Later on, I'm going to add another layer which will be a clipping mask. And let's grab that crackle brush. These fibers are probably going to be two big groups, school block, I'm going to go in this time to the grain and make it a bit smaller. And that's actually pretty, pretty decent size. So you can see the crackle, the cracks form there. Great. We could change the size of the brush. It's not going to change where the location of those cracks is. If we want to do that, we'd have to go back in again to the grain and maybe make it a little bit smaller if we wanted to get some cracks here on the top and I think that's worked just fine. It doesn't look exactly like that one there or this one here, but it's not bad. I'm going to add another layer, make it a clipping mask. And I'm going to go back to my airbrush. And I'm going to go to the white, but kind of move my way off the white. So I'm a little bit cream colored there. And I'm just going to brush in a little bit more of a highlight here, because cocoa beans tend to be glossy. And this one matches this one pretty good too. And you can see this one's got quite a bit of red, redness in it. So you could even go in and grab kind of read and go fairly big. And like I said, aim from the outside and you can just add a hint of red in there too if you want. And then I'm gonna go pure black again, go smaller, and then I'm going to really darken this bottom edge here. I think that looks like a shiny coffee bean. What do you think? I think that works great. So we've finished this. We've got the cookies, I think the star and uses too big of a project to do as part of this class. We may be able to do this as an additional class, because what I wanna do in the next lesson is to focus on putting our composition together and doing the tablecloth. So for now I think what I want to do is just get these two beans out of here and ready to go. So at this point, I don't think I need them in layers anymore. So let's just well, just to be on the safe side, I'll put this into its own group. So that's this one here. I'm going to duplicate the group and flatten that one. I've already got the other one flattened here. I see I had that on the star and East layer. So I'm going to three finger swipe down and make sure I'm on that right layer. Yes. And copy. And for now, I'm just going to put it in the same document as the cookie dough that we've caught, just one less document to deal with. And I'm going to take all of this cookie staff, put it into a group, duplicate the group, and flatten that layer. So we've got a cookie we can just cut and paste. And I'm going to just paste my coffee bean or cocoa beans, calling it a coffee bean, but it's clearly a cocoa bean. I've got that ready also, so we can take that into our other document when we're ready. So at this point, I think we can take a little break and I will meet you in that next lesson where we're going to do that tablecloth and get our main document ready. I'll see you there. 8. Lesson 7 Table Cloth and Arranging the Elements: Hi guys. Welcome less than seven. So it's time to arrange our flat lay. And I want to work on that table cloth and just kind of setting the stage. Let's get to it. There's a couple of different ways that we could deal with creating this document. You could do a new blank document. I've done this one at 12 " by 8 " and I could bring everything I need onto this document or I could just re-size one of the documents and I've decided to do the one with a cup because it has so many layers and so many clipping masks that the program can't handle. Dragging this one over to the other document. I tried and it just froze out. So I've got this document at pretty much 12 by 8 ". We can take a look at it here. The proportion is correct is what I'm saying. And we can look at the settings here as well. By 8.6, 6.300 for the height, I could go a tiny bit less here. So you can see that as I'm doing that, it's giving me the measurements here. And at 300 pixels per inch, eight times three is 2,400. So I'd have to go to 2,400 here. So you could do it this way or you can type the measurement in here. It's close enough for what I need it for. So I'm gonna say, okay, and obviously my cup is way too big, but I definitely wanted to keep it so that I would have the flexibility to do more shading if necessary. So maybe I'll just change it a little bit at it changes angle a little bit. And I'm going to lighten this layer. So that's the highlight. I'm going to just reduce the opacity a little bit more. That's my main content, the coffee cup, but we've got these two as well. So let's go into this document. Remember that on this document we actually flattened both of those things. So we have a flattened versions. Those will be okay to bring in. So I'm going to duplicate this. I made a couple of changes, so I'm going to duplicate this one and I'm also going to flatten it and that'll give us two cookies. I'm going to grab all three of those. And then I can move them by just kind of grabbing them all, letting them float here than going to the gallery and go into the document that I want them in and then just releasing. And other than the fact that it's snuck into that cocoa cup, I think that works just as well. So I've got my two cookies. I'm actually just going to rearrange them so they don't look like they're exactly the same. And I've got my little cocoa bean and I was going to bring a second one end. So let's go back to that document because we do have this original one that I did. So I will do the same thing here. I'm going to grab it, float it, go to my new document and drop it in here. So now I've got two beans and I've got the cookies. I need a plate, and I need a tablecloth for the dish itself. Why don't we just shut off all these other layers here. And then these guys, I should have made sure they were in their own separate group, not included as part of that cocoa cops. So I'm going to add, just shut these down for now and add a new layer. It doesn't matter where you position it for now, and let's decide on a color. So I think mine was kind of a blue color. It doesn't have to be the same as I did in the first place. But what I'm gonna do is grab my trusty old posca pen and create a great big circle. Hold my one finger on there to make it into a perfect circle. I don't need to edit the shape. I think we're good and I can duplicate that one and reduce it down the center Part of my late. We could put the snapping on so that we can line these up perfectly. So that's the beginning. Right now they're on separate layers. I'm going to merge that down so that the two circles are on the same layer. And I'm going to fill it with that color for now. And I will try to decide whether to put that in a second separate layer. And I think I will, so I'm going to select the inside of my circle here using the automatic selection. Add or no, I had that layer there already. Well, that's okay. I will fill that one with a slightly lighter blue that's maybe a little bit too much lighter. So we've got the two layers which will end up being our plate. Maybe I'll go with teeny-tiny bit lighter there so that you can see what I'm doing. Now we're just going to add some highlights and shadows just to make it look more realistic. That is usually easily accomplished by using the Posca pen again. And let's just do some half circles. Those will be the highlights. Let's go into the Gaussian blur and blur them a little bit. And I think those could be brighter. So I am just going to use Hue and Saturation and Brightness to brighten those up a little bit. I have I done, I've done them on that inside. Actually. I mean, it didn't look bad. I didn't mind that, but I'm going to undo that blurring and just use my freehand selection to select both of those. Cut and paste so they're on their own layer. There we go. Now we can learn it and let's brighten it. So we're gonna go into hue saturation and brightness and brighten it. I'm going to brighten it quite a bit. And then I'm going to use the soft airbrush eraser to just kind of tone down the very ends of those. I'm also going to add a layer above this part of the plate and make it into a clipping mask so that I can also actually what I'll do is grab the airbrush as a brush and go pretty much white. And also airbrush some light along the edge there. And you know that in order to show a bit of depth, what we wanna do is also darken. So we're going to go quite a bit darker here. And remember it's a clipping mass, so it's only going to catch to that circle. And the edge of the circle helps to keep it separated from the other layers. So here we go. And we can also use that around these outside edges. So you can see where my brush is going. It's basically way on the outside here. And I'm just adding that kind of around the edge. I'm not worrying about this side too much because I know I'm going to pull my plate kind of off the page a little bit, but I might as well follow through and do that edge as well. And then I want to add shine to this part of the plate as well. But I wanted to put my cookies there first just so that I can kind of make sure it's all working. So everything to do with the dish, Let's just group it, but to rename this to fish, dish plate, whatever you want. And let's figure out how that's going to look with our cookies. So let's bring our cookies and turn Snapping and stuff off. So we've got our two cookies on the dish, and that's going to dictate a lot of what we do now for shading and whatnot. So I'm gonna go back to this layer here and grab that airbrush. And now I'm going to put shading around the outside of the cookie so that you can see that there's a bit of dimension built up. And I'm doing this part here. You can't really see it because that would actually be as part of this layer. So we're going to add a new layer here, make it into a clipping mask. And we're also adding a little bit of shadow in there. Here where that one cookie is lifted above this one, you want to go quite a bit darker because that would really show the depth. You can put a little bit on this side, probably not quite as much because the light is sort of, I don't know whether it's coming from straight above or from overhear. Just want to be consistent and there would be a little bit of shadow around the edges regardless of where that light source is coming from. So already there, now it's starting to look like it belongs. Which is great. And I'm going to turn my cup on as well. I'm going to get rid of the bubbles that we were creating there because I've got a duplicate of this document. So I'm gonna now turn on my coffee cup or my cocoa. And of course, you can see that it's all now in the way. So let's put all of these into a group. So I'm going to rename this one to be accents. And now I can grab both the axons, the dish, and move them together. So I'm thinking I want something kinda like this. I don't want to cut it off too much yet because if I needed to change position, I don't want to be having to deal with that being cut off. So what you could do before bringing it to the edge like that is you could duplicate them so we could put those into a group, duplicate the group, turn the one-off just in case you ever wanted to go back to having the dish of cookies not be cropped, they're gonna put it there and I think I can rotate it just slightly. And then now I can move my whole cup and I think that positioning and size. No, I don't want it be any bigger or smaller than the cookies. So I'm thinking that my cookies and dish need to be a little bit smaller for the proportions to really make sense. So I think I'm going to do something like that. And so I've got my basic arrangement here. So the next step is going to be to create the tablecloth. I'm gonna give you a couple of different brushes to choose from, but of course you're welcome to use one of your own patterns. Let's do that tablecloth as part of the last lesson. And then of course we'll have our two cocoa beans that we can use as accents. Alright, So I'll meet you in that last lesson. 9. Lesson 8 Table Cloth, Dimension, and Final Details: Hey guys, welcome to lesson eight. I've been having a little fun just now playing with a bunch of the patterns that I've just slipped into your set. So there's a lot to choose from here for tablecloth. The one I used was this one here and I will rename these before you get them, by the way. So for that, I have a blank layer here. And let's just test the size of the brush. And I'm gonna go with a deep brown. And actually I'm going to change that to be more of a deep yellow color. And the scale of the pattern seems pretty good. So you could paint that whole background in. This is basically the one that I did for my title slides. And I think what I did here is I took the automatic selection then and selected the background behind all of these leaves. And you can see here, now I'm just having to add a little bit to my selection. I think I've got it all. And what I wanna do here is invert that selection. I'm going to make a layer below the flowers there, which I will fill with white. And then when you see with my colored background, the little leaves themselves are white. Now you can see I've missed a couple of spots there, but you get the idea. So that would be one version of a tablecloth. I'm going to put those into a group and turn that one off. I have supplied a ton of other selections here. These dots would work great. Choose a color that you think is going to complement what you've got there. You can paint was in. What's kinda fun. If you think that the scale of the dots is too small, go into the grain, make it a little bit bigger than I quite liked this one because it's got some great texture built right in there. Let's just use this one. I like this and it'll work great for what we're doing next. I do want to kind of make some shading around there, so I might actually turn this color down a little bit. So I'm going to slightly desaturate it and slightly, slightly brighten it. Then the color that I have, which was the original that I chose, that orangey color. You can see that when I paint with it, it darkens. We could go even a little bit darker, maybe a little bit smaller on the brush size. I'm gonna do it on a separate layer so that I can have the ability to go in and adjust if necessary. So I'm just putting a little bit of shading around there. I'm going to move these two cocoa beans to be a little bit more in this area to fill it out and go back to my shading layer and just shade a little bit around there. And that's just like the tablecloth fabric itself. We're still going to go in with an airbrush here, that all soft airbrush. And let's go dark and we can do a little bit of darker shading around the edges, everything. Now I'm going as if the light source is on top. And so the contour of the cup, which allow for that to have a shadow around the edge. So that's kinda what I'm thinking as I'm doing this. And then of course the same thing would happen for the plate itself. So you can see that adding that little bit of airbrushing in there makes it look like it's lifted off the table as of course it would be if it had a rim. So having that on a separate layer allows us to then do some adjusting if we need to. So that's another version of tablecloth that you could do. You can hide this one. And of course we could go in with one of these other patterns. I'm going to try this plaid. I think I do kinda like the ready orange or yellow orange for the tablecloth. Now, when you paint with the layer and your document is perfectly straight, your pattern is also going to be straight, but we can also tilt the document so that we can do our plaid like this at an angle. And, you know, with this color, I shouldn't have done that. So I had the offset. I moved my document and so it wouldn't match up. So that's why I'm doing it a second time here. And if you don't like the color, you can always make adjustments using your hue and saturation. So I'm going to go a little bit yellower and I see that I missed that little corner there. Well, I'm just going to leave it for now. You get the idea. But I think that the shading that we used on this grouping here, I can just duplicate it and bring that above here to add, oh no, I can't because I've got that the dots there. So I would use the airbrush maybe and get those dots out of there and just stick with airbrushing for my shadows. It's always amazing to me when we start adding shadows and things, how much realism it really adds. And you're in some areas you can go darker. Just kind of imagine how that might look if there was a light coming straight from the top, but everything had an under underside and would need to have a shadow in there. So all of these tablecloths are really viable. You can also do things like add a layer beneath. So for this one, maybe softer yellow. When that can add quite a bit of dimension there, you could even do things like take an eraser with your posca pen and then take some of it out like this. I could take the white or the eraser to take out the inside of that plot so that it has a more interesting look to it. These are all really nitpicky little things, but they can all work to add extra interests to your layout. Now, I didn't do the star and East with you because I just think that would be really time-consuming to add to this class. So we can also add that to another class. And you can of course, think of other little prompts that you might want to add. Something like a flower might, might be nice or a leaf. I mean, anything that you can think of to make the layout more interesting, or even lettering, you could have some kind of a cute little message that goes along with your art work. And before we end the lesson than the class, I just wanted to also do a little bit more on my phone here. I want to add some texture to it and a little bit more to the cookies. So I'm going to go to the cup here. So this was the foam layer that we did. All of this was the phone. So let's put all this together and group it. And if we duplicate it, we can hide the lower one and flatten it. And then we can add a clipping mask to it. So I'm going to do that, make it into a clipping mask, and then I could get a nice shading brush. I'm going to use this pressure shader and I'm going to sample that color and just slightly change it, maybe a little bit darker. And you can see that as a little bit of foam Venus to the texture. Actually I think I might go lighter instead of darker. So sample that color again for tiny bit lighter, I'm going to adjust the green a little bit here, so we're just making the green a slight bit more prominent. And I'm just kind of going around the edge here and just adding a little bit of extra texture in there. So I'm mainly confining that to that edge because if I go into the shadow area, it looks kinda wrong. So I think that's kind of nice. It really adds another level of almost bubbles, but like really, really small bubbles. And then this one here, cookies, we could do the same thing, add a clipping mask, and that's this one here. Sample that yellow color and then go just a little bit darker. You might have to go a little bit more into the orange so it doesn't look green. Then you can just go in and add texture and it doesn't have to be all over. But I think this is a really consistent shader instead of being like spatter. And it really helps to add to the overall texture and interests. And just overall, just making the cookie look a little bit more organic, so a little bit more realistic. So I think that it's just like one of those other things that you just add and it just makes such a difference to your overall layout. I'm also going to do one last adjustment here to my dish. I'm going to add another layer. I'm gonna go to that soft airbrush and a sample that lighter blue. And I think here we go, nice enlarge, but that's the inside I'm doing right now. So I'm just going to do this edge a little bit brighter, and then I'm going to add one to that layer. And then same thing. I'm just kind of, That's a little too much, but I'm just adding a little bit. And because it's on its own layer, we can use the opacity slider to just blend it in. I think I've showed you everything I can think of right now. Maybe in another class, we'll do a couple of other prompts that we can add to things. Having all the little components is great for a flat lay. And you could use this for so many different things. You could completely change and make this into coffee and have coffee related stuff. You could be in a coffee shop is going to have part of a computer, keyboard or your iPad or anything like that as a prop. But just think about all the different things that you could put together to make this look even more interesting. Google it. I would Google flatly illustrations or flat lay ideas. And yeah, like I mean, you just kinda follow through, decide what you wanna do. If you need to change colors on this, you can have some fun just do two or three experiments with this exact same layout, but just going in and doing things like adjusting the color. That might be cute if it was all in blues. Like I said, there's so many different things you can do. I can't even think of them all off the top of my head. You could definitely. Let's delete that layer. Experiment with each of the different ones that I've given you, given you here. So there's lots of different patterns. So of course, you can experiment and if it's something like this, which is obviously just one color, you can use your automatic selection to select areas that you might want to fill in a different color just to make it more interesting. So I know I haven't selected everything correctly here, but let's add a layer below and fill it with a soft green. And we've tried and accomplished five or six different looks in 10 min. So I really encourage you to do that. First of all, it's really fun. And second of all, it just gives you a better ideas of what you can do with your brushes and things. So this shading layer would now be incorrect in yellow, so you would have to adjust it and possibly darken it. That one is really lovely. Two, and remember, you can also go in and make changes to your coffee cup or your dish exactly the same way. So my coffee cup, of course, I started with those base layers being in grays and whites, but you could easily go and change them. So this one, I would merge it down. That's the gray that makes them the main part of the cup. And then you could go into hue and saturation, supersaturated. Now because it was a gray, It's not going to, let me put actual color in there. So I would add a layer and make it a clipping mask or make this an Alpha Lock, alpha lock the layer. Then you could fill it with whatever color you want it. And you can see there that you could change the color of the cup quite easily. So let's do something contrasting so you can really see it. And that's a super ugly color for that, but you get the idea. You could go in and still make a lot of adjustments. I can't wait to see how you make this really your own. Alright, I don't think this needs to be shown to you in a mock-up because in a way it is a mock-up in itself, right? It's a flat lays. So I guess I'll just meet you in the last lesson where we'll do a bit of a wrap up. All right, I'll see you there. 10. Lesson 9 Conclusions and Wrap Up: I want to say thanks for hanging out with me today. And I really hope you had some fun with this one. There are so many things you could do now that you have all of these concepts. You could definitely do a scene with coffee or tea, latte, anything like that. And you can probably figure out some really cute little props to cope with it, especially with a coffee scene, coffee and tea. So universal, that's the kinda thing that would be probably very saleable if you were to produce it as something on a POD site. I can really imagine this as a t-table, e.g. now if you haven't done so already, make sure you hit that follow button up there. That way you are informed of any of my new classes as they're released them and anything else that I sent out in the way of posts. And of course, add your name to my mailing list on my website because I've always thought some new stuff going on there. And there are classes that I don't post here that you may want to actually have access to, so check it out. Also make sure you check out my references that I have on Pinterest. I've got tons of boards there that aren't great inspiration if you're just looking for something new to do. You can also check out my stores. My biggest one is ensemble.com. I also sell through art anywhere in Canada. Check them out just if you're curious. And I also sell on tons of different POD sites like I Canvas and metaphors, patent and a whole bunch more too numerous to mention. I'm so glad that you hung out with me today to produce this little project and I hope that you produce something so interesting that you're dying to post it. I'd love to see it posted here as a project or on my website as part of the community. If you're not part of my community yet, you might be interested in joining. So check out my website to get more information on that. Well, I guess that's it for today. I'll see you next time. Bye-bye.