Transcripts
1. Intro Realistic Mosaic in Procreate: Hi guys and welcome. My name is Dolores
Nazca and I'm coming to you from sunny,
Manitoba, Canada. It's a gorgeous day out there. I can't wait to get outside. The class I'm bringing it
today is going to be something that you've probably seen around the internet quite a bit. It's creating three-dimensional
looking ceramic tiles in a mosaic pattern. So there are lots of classes on this and
there's lots of tutorials, lots of different techniques. I'm gonna be showing you
what I've figured out. And a lot of the
techniques will be things that we've done in
other classes as well. So they won't be too much
of a surprise to you. But you'll see them used in maybe different ways than we
did in the other classes. We're gonna be
adding all kinds of realistic highlights
and shadows, of course, and texture just to make it look as
realistic as possible. I really enjoyed this process. It's another one of
those classes where you can really get
lost in the details. And it's just so relaxing
to do a project like this. This is the kinda
thing that you can do when you're
watching TV at night, sitting on your couch, or on a beautiful
day like today, you can be sitting outside
and doing this project. That's one of the
things that I've just love about the iPad. So if you haven't
done so already, I'm going to suggest
that you hit that follow button up there. That way you'll be informed
of any of my classes as I released them in any of
the posts that I send out. I've got a brush set that I'm
gonna be giving you here. I'm gonna be giving
you enough of a selection that you can
get this project done. I'm developing a full set of these brushes and those will
be for sale at some point on my website at Dolores art dot ca in the
artist's resources section. So I think we're
ready to get started. I'll meet you in lesson one.
2. Lesson 1 Examples, Inspiration and Brushes: Hi guys, welcome to lesson one. So as always, I want to start with a little
bit of inspiration. So we're gonna be taking a
look at examples online. And then we're also
going to just take a quick look at some of the
brushes I have in the set, then I'm gonna be giving
you. Let's get started. I want you to start this
class by looking at some of the inspiration that
I found on Pinterest. Of course, I have created
a board for you where you can see what IP and there's not that
many pins in there yet, but I do plan to add some. This is a good one, actually. I'll save that one
while we're here. And that's a really
pretty one too. I love some of these that
combine different shapes. Like they've got all these
really big square cut ones, but then they've got a bunch
of these odd shaped ones. And those are neat because
they really show how you can combine all of these
different shapes and sizes to create the whole. If you really look
at them closely, you've got basically
all square edge items, unless they do combine stained glass like
this where you can buy some of these cobblestones
to get that round look. But on a whole, if you look at mosaic
pattern like this, every piece that's in
here has straight edges. It's just how you put
them together completely. That ends up giving you the
illusion that guess what, It's not an illusion, but the, gives you the overall shape
and the overall content. I don't even know
how to explain that, but I think you
know what I mean. I find that the brushes that I've created are quite useful, but they are definitely not
the be-all and end-all. You do have to do a lot of adjustments even with the
brushes that you create. This one is a really great
example because it shows how the square pieces were cut and some of them end
up being really small, triangular shards like rate in these really tight areas where
lines have to taper off. And I'm gonna be showing
you that of course, as we go through our project, I think for the first
project or two, you want to keep the
pattern quite simple. So the overall pattern is a lot of wavy lines and you
don't have anything super, super thin at first. You can deal with
that eventually, but it's just easier
when you're first learning to use something like this where you can do
all of the pieces with straight edges and they aren't
super, super complicated. So here you can search
out mosaic tile art. But if you go to my
profile and go to my saved and click to
my mosaics board. You'll find the ones that I have posted here as kinda
decent reference for you. Now the other thing that's
really fun to do is to take a look at
historical mosaics. So something like this,
when you look at it, you break it down
is just phenomenal. When I was in Europe, I
loved going to some of the museums and
historical buildings there that had these
mosaics and your, your head just explodes
looking at them, you know the idea of all that
detail created with tile. This is a good example here. When I am doing a
search like this, I always go up here to tools and then search out the
large examples. And so they'll filter
to the top here. And so you'll get bigger
examples that you can look at. Now, look at this one. Wow, this artist must have
spent a year creating this, or would have had to have a
whole team of people helping. The things that I
really notice about this is that the
artists was able to still create all
kinds of highlights and shadows by probably customizing the glaze on the
tiles that he or she used. And the pieces here, a lot of them have been
cotton, really, really small. So you can see here how intricate some
of the fitting Was. It is just mind-blowing and
these are a great resource. I also love looking at the
backgrounds and seeing backgrounds that have also had
a pattern built into them. Let me see if I can find a
good example for you here. But sometimes even
with the tone on tone, like something like this, you can see that the
whole background has been done with sort of
scallop shapes. Those scallop shapes
are repeated to create an overall large
pattern background. So that's something
to think about. I have created a few brushes
that you'll be able to use to do these
big filling areas. I'm gonna go through
the brushes in a minute here in Procreate
to just kind of give you an idea of what you can do with the brushes
that I've provided. I liked that there
are tons of them that are simply patterns,
just repeat patterns. This is almost exactly
the same scallop pattern in the background
of this one here. And then the overall
pattern that's created to make this big border. And you can see these
borders off to the side here and even lettering. And there's a lot of really nice lettering
that's being done now. You could probably. Search that out separately. So something like this. This is done in a
class similar to this. I'm sure this is on Dribble. There are some great
kits already available, some brush sets that I've looked at and considered buying. And I just kind of looked at them closely and
then figured out, you know what, I
could do this myself. I don't need to buy a set. And so here's a good example. I'm not sure who this is by. It's from a site
called lettering.org. And you can see that this could be done with a brush that's created specifically for
this sort of a line. There are adjustments that
have still been done. You can see, let's say at
the bottom of the G here, where the descender comes down, that there would have
been adjustments made or on the curve of the H here you can see
that adjustments have to be made to
go around the curve. So even though these
are curved lines, when you look at the
individual titles here, the tiles are still
very straight edge. So we'll be talking about
that throughout the class. I'll be showing you
ways to deal with it. And you just have to make some
decisions here and there. Let's look at this one
with the background. Okay, so this is one
that's been done with a full tiled background. This is probably not at
the finished stage yet. We'll go through
the steps here too, and we're going to end
up with a bunch of layers like that to help us create highlights
and shadows and add the grout and all
kinds of different things. I also wanted you to take
a look at these two sites. So I've put the links in
the course materials. These are not real, if
you can believe it. Doesn't that look just
breathtakingly accurate and real. This one is done by this
lettering artists, Sandra Xena, and she actually has a
complete written tutorial here that you can take a look through and you
may find helpful. You may find things in
here as I'm differently, so I would definitely
check her out. And she has given this lead for this artist, Nick Masonic. Now, I was just blown away
by this guy's work to, the work is so
realistic, so gorgeous. Let's see if I can get
a larger example here. So that's probably
the biggest examples, but can you believe
that that is not real? I mean, he's even
built in all of these little flaws in tile as if it was really on a floor and
being worn out by traffic. This one, I absolutely love. I just love the pattern of these inner parts
of the letters. And then these huge flower type shapes that he's got going on
in the background. This work is so, so, so good. So I wanted you to definitely
take a look at those. So like I said, I've put the links in the
course materials, you'll find those on
the written outlines. So check these
people out for sure. The brush set that
I'm giving you, it will give you
everything you need to produce a sample project. So let's take a
look at that now. Okay, so I want to
review the brushes that we will be using
for this class. And I've also created
this template. We may use this one. I haven't decided yet. I've used it before, so
I kinda have an idea of some of the issues with it. When you're trying to fit
the pattern into the shape. Then you know how
to deal with things like the curves and whatnot. The brushes I've created, the set that I've
created will be somewhat of a combination
of these brushes. I probably will not
give you the full set, but I'll give you enough
to get you going. And the main ones that you
really need to take a look at or want to experiment
with are these, these are the brushes that
will lay down tiles or shapes that look like tiles with the spacing
already built in. You can control the
size of the brush here. Yeah, just like any other
brush, if you pull it in, pull at the end, you
can make adjustments. You can still go to
edit the shape here. So for this circle, for example, I can make some
slight adjustments. Or for the ellipse in this case, I didn't change it to Servo. If I want it to be
a perfect circle, then I could click on that. It really it pretty close. I did notice that
there was this kind of a tilting that would happen with the brushes in some cases, but a lot of times
the adjustments have to be made anyways. And this one is pretty easy to adjust the spacing
between the tiles. So you would go into
the Stroke path there and you could
tighten it up to have the tiles are
really close together. So more like this. And of course you can
hold at the end and pull, which is another way that you can create different spacings. So in that case the
line was too straight, so it wasn't going to let me have a full career.
Okay. There we go. And then you can
adjust this way. I didn't start it
in the right spot, but we'll talk about
all the idiosyncrasies, brushes as we work our
way through the class. I did find that no matter
which way you do it, you do have to make
adjustments and make special cuts on your ceramic
tiles to have them fit. And from any of
the classes that I have watched that
teach this process, you can't get away from it. You're going to have
to do that anyhow. So that's just one of the things that you
have to deal with. And I've also created
some of these which will be big
filler kinda tiles. You can again go in there, and in this case you would go to the grain to scale
it down if you need a smaller version
of it and you can use it for filling
in large areas. I'm being really sloppy here, but I will be showing you how
to do this really properly. And you can still go in and make changes to
some of the tile if you want it to
have it a little bit inconsistent as
far as the color goes. Maybe just not so much
of a shift in color, but just slight shifts in color make it look a
little bit more realistic. We're gonna be also adding
all kinds of textures. And I've got a bunch that
I've got built into this set, any of the ones I use, I'll put it into a set for you. Yeah. What else
do I want to tell you hear about this set. The other thing with the
brushes is I would have them. If I have them in
positive form like this where the tiles
are, what is solid. You can also go in and edit that by just going into
the green editor and using a two-finger tap. And you can switch it up so
that it's C grout that you're painting and you're
left with blank tiles. I find that really
it doesn't matter. You're going to probably make your own adjustments based on how it is that
you want to work. So instead of having
the solid tile here, I would have solid lines. I've been leaving it this
way because I find that it's easier after I've done everything to then do
the overall growth. That can be done just with
another layer you add below and fill with
a darker color. You see, you'll get the
grout there between the lines and we
will add texture. We're going to add shading. We're going to add highlights, anything that will help us to make this look a little
bit more dimensional. So if I forgotten anything
about the brushes, you're definitely going to
learn it as we go through. So that's the end
of this lesson. And in the next lesson
we're going to really start working on
our actual design. So I'll back it
up to this point. You can get this stencil as one of the downloads
for the class, and then we're ready to go. I'll meet you in
the next lesson.
3. Lesson 2 Laying Down Initial Tiles: Hi guys, welcome to lesson two. So in this lesson, I
wanted to talk to you about laying out that
first-line of tiles. So we're going to
be experimenting with the brushes a little bit. I'm gonna be talking
to you about some of the considerations for
drawing these tiles. Let's get started. So I changed my mind
about the project. I will give you both of the templates or
maybe even three, so that you can choose
whichever one you want to work with or you
want to possibly create a pattern of your own. That's, that's also
a really good idea. That way you kind of get an idea of what works and what doesn't. And I found that mainly what we want in a pattern is
to have the sort of main areas of tile worked out in the width that you think
you would have that tile. So I've made mine quite thick
because I'm doing a video. So I wanted to show
up, of course, and I decided to do
with this instead of the one with the flower
or the round flower, this one here, just for
a couple of reasons. Mainly, I've already
done this one twice and I'm kind
of bored with it. And there are definitely
some limitations to the brushes when you're doing
these super rounded curves. So I thought we'll start
today with just a bunch of sort of shallow curve because
I think that's going to work better with the
brushes that I have. And just so that you get a
chance to try those out, I would keep the pattern
on its own layer. You could even lock it. I'm going to actually reduce the opacity of it a little
bit here because I'm going to have to kind of keep
it on my screen as we're working just so that
you see what I'm doing. Yeah. Then you can just swipe to the left lock and
that way you won't be accidentally laying some of your tile on
that sketch itself. I'm going to add a new
layer to start out with. And then I'm going to take a look at the
palettes that I have here to decide on what
palette might work well. And I think this one here, which has a lot of sort
of water-related colors. This makes me think of waves. So I thought I would grab a
nice palette to use for that. I'm going to set this
one as my default. So now when I go
back to my desk, it's the one that's here. I'll just clear what
I was using last night and we're ready to go. I'm going to start by laying
down some of the lines. And what I wanna do
here is do a line and then end it so that you can see what I would do there
for adjustments. So let's pick just a nice
neutral middle tone color. Maybe this one,
I'll grab that one. And what did my brush? The first thing I wanna do is decide which shape
of tile that I want. I've got some that
are really skinny. And he also that
when you lay down the shape, did not select it. Okay, Now, that's perfect that I have this problem come up immediately because you'll find that if you create
brushes of your own, that you're going
to have this issue. So for some reason I had
orient to screen on. You want that off
and then you'll see that it'll lay down
the way you want it. You can reduce the size of
your brush to get it to the size that fits
within your lines there. And of course remember
you can pull to straighten out or change
the spacing on it. Personally, I find
it easier to go into the stabilization here
and set that really high. And then when I
am doing a curve, it's a pretty darn close
match right from the get-go. So I don't have to do
a lot of adjusting. You do find that when you're
laying down these kind of brushes that the first
one or two orange gray, like a lot of times there'll
be tilted like that. So I sometimes just kinda start off the side of
the page if I can. So I can't use that
on a double curve. So what I would have to
do if I wanted to use that ability to
spread things out, I would wanna do a parcel curve. So I don t think that's
really ideal for me, so I'm not going to use that. So I would just have to
be very careful as I'm drawing and try to match
a curve as well as I can. Which is why I set that stabilization really high
and put it right to the top. So decide on which shape
of tile that you want. So that's that one. This is a sort of in-between, so it's taller than
the square one, but it's not as skinny
as the skinny one. That makes sense. And again, I would go in, get that stabilization
very high. And for me, I'm a
little bit shaky, especially if I've
had too much coffee, so I do stabilize a little
bit on those two settings. You'll just have to experiment
what works for you. And I'm sure you're
going to probably have a steadier hand than I do. So that's a possibility. And then there's the third, which is the square tile. And there's two
different sizes here. They are essentially the same. I just like having
both because then I can set the spacing
on them a little bit different and I don't
have to go in and make adjustments each
time I use the brush. So that one's a bit vague,
a little bit small. So you have to experiment until
you get the size that you want and push past the
edge of the line here. That's how we're going to then start making some of
the little adjustments. Okay. So let's say that's the one
that I decided I want to use. When I get to the end
of the line here, I'm going to want to use my
eraser and I've just got, you can just use
this Posca marker, a mono line marker is a good idea because it
has the same thickness. And you can reduce the
stabilization a bit if you want it to work like a regular eraser that you don't have
to go back too much. It doesn't do those
short strokes like it was doing at the beginning.
Are those weird? When I first started, it was set was set really high. So when I went to try
to erase, I don't know, I just felt like
it wasn't really working the way I wanted
it to as an eraser. So that's another thing that you've probably
gotten used to. But if you haven't do a
little bit of experimenting, and what you wanna
do is have your tile triangular or at least
have a straight edge. I've got these a
little bit curved, just a little bit just to
make them look like they're a little bit more organic
like they've been handmade. You'll find that in
some cases like this, you'll have a title
that's kind of moved out of position that you'll also want to erase and smooth it out to match the
line of the tile. So it's got to match that side. They're somewhat, this one is a little bit
away from the line, so you're going to want
to brush that one in. So I would also grab
the posca for that. You can go fairly small, draw in that little
wedge that you need. Make sure it's
fully filled in so that that line
matches perfectly. And you're going to find that at times you're going to need to also make a bit of an
adjustment on the side of it. Now, if we were doing
that other pattern, you would have found
that you would need to make a lot of adjustments
between the tiles. So definitely attempt
that at some point. It's kinda fun to challenge
yourself and figure out how to deal with
all of those joins. Now, the other possibility in a case like this
would be to grab your free hand selection tool and just select the one
tile that's out of place. And then just kinda turn it, do whatever you need to have
it fit the line perfectly. So there's our first
line laid down. I think we can continue
with the other lines. Let's do that in
the next lesson. There's gonna be a few other
considerations that come up. But essentially what
I just did there is what I'll do for all
of these lines and then we'll be ready to
do some of that fill in in-between and where there's a couple of different
ways that we can do that. So I'll cover that in the
next lessons coming up. Alright, so let's meet in that next lesson to do
the rest of these lines.
4. Lesson 3 Experimental Options for Smaller Trim Tiles: Hi guys, welcome
to lesson three. In this lesson we're
just going to be finalizing those
initial lines of tiles. Okay, so I'm gonna
go through and put the rest of these and I find that the easiest thing
to do is to make new layers for any of
the lines that overlap. So first of all,
focus on the lines that don't overlap
with this one. So I'm trying to keep my
hand is steady as possible. I've got a few
little bumps there. You can always go
back and redo it, so don't be too
hard on yourself. If I was working on this. If I was sites in the living room on the
couch and I was working on it. I can of course, adjust this to be the direction that I need
to make better lines, but this is okay. I will try to steady my
arm as much as possible. If you're off a little
bit, don't worry about it. You can adjust accordingly once you get to the next stage. So here's one that I
would do like this. Then I would enlarge and carefully cut off
what I don't need. Here's one that I
would adjust as well, just might as well do it well, I've got the eraser in hand. So to get that better
line at the bottom, I could swing a line
across like this. As long as what's left here
is basically straight. I mean, that's got
a tiny curve to it, but not enough to be critical. It's no more of a curve. Then I've got on
these tiles as it is. When you're using a tile cutter, you can put slight curves in. You just don't want to
have to do that too much. A lot of times when
you're working on something and you're cutting all those little
intricate pieces, it's just faster to
do straight cuts, so that's what you end up doing. So here's a couple
that I might just, just using that free
form selection, but a tiny bit of a
curve on it maybe. And I could still go back
and erase if I wanted to. I think that looks okay though. This one's a little bit off
so you can decide whether you want to do the curving
because it's at the end here. I won't because
it'll be cut off. So I'll just brush that
in with the marker. Did I not just select that? Goodness sakes, these
are off a little bit, but I think that's okay. Because I think if you have a little bit of realism there as if whoever's laying the tile doesn't do it
absolutely perfectly. I think that's perfectly fine. Now, I'll go through and
quickly do these other lines. I guess I could put this
one on here, on this layer. Now, I want to put
on its own layer so that I'll be able
to trim it back, so add a layer. Oh, this is a good
thing to tell you too, is that see what I've
tilted my screen. It's not going to
orient properly. So that's another reason why
I keep my screen straight. I'm just wondering
with this one if I went into Properties. Yeah, I do have that orient on, so I turned it off. So let's see if I can do it now. Yeah, so it works fine as long as you turn that option off. So now that I've
got it turned off, that's how you'll get the brush. So right now I'm
just pulling them pass the ends of the line here because I can
go in and erase. So to make it a little
bit easier to see here, I'm going to reduce
the opacity here just so that I can tell what
needs to be cut off. So now I can see where I
need to do the erasing. So grab that eraser, that's still a Posca. Whoops, make sure you're
on the right layer. And enlarge wherever necessary. Move from one spot to the next. I'll just do this quickly
and time-lapse it for you. Perfect. So now we're ready to start
doing some of our feelings. So now we can bring this one
back up to full opacity. And we might as well
merge this down. We've got all of our
connections done, correct? Yes. So I'm going to merge down. Everything's on one layer now. Now we can make a decision. Do we want to continue
with the same size tiled? We want to put one of those alternate sort of
background tiles in here? Or do we want to put
maybe an additional, maybe smaller strip
along the edges? Let's experiment. I'm going to
duplicate this layer. Then I'm going to do something
kind of unusual here. I'm going to use
the Gaussian blur and I'm going to blur it. Let's try. I'm just guessing because I haven't
done this myself yet, but I'm guessing 10% here. And then what I'll do with that layer is duplicated
several times. You see each time
I'm duplicating it, It's solidifying a
little bit more. And let's just
pick a number ten, let's say whatever I have here. So I'm going to select
them all, just those. Make sure you leave
your original layer there and group them. And now you can flatten that group and you
could do that again. So we'll do a couple more. And you see it's
kinda spreading. I'm not sure this is going
to work actually what I'm trying to achieve
here, but let's just. Follow through. So I've got those three. I'm going to group them. I'm going to merge them
down or flatten them. Then I'm going to select that
layer and go in and fill it and duplicate it
and merge it down. And I just don't think
this is going to work. The way that I am thinking
is going to work. So try one more thing here. I'm going to select it again. Feel maybe it will work. Let's see, select Fill. Now I'm getting a more
solid line there. So this might work
after all, black fill. You can do this a few times, you can even when you have it selected the onetime
like right now, I could go in with a hard brush. I could use my
posca or I could go to large hard airbrush,
nice and big. And I can also brush the edges
here to get a harder edge. So what I've done here
is created what could be small trim tiles on the outside. I'm going to change the color
of it so that we can see. So select, fill with
that darker color. Let's slide this one underneath. So we've created what we can use to make a strip all
along the edge here. So I'm going to go to
my mosaic tiles here. I'm going to take
the smaller tile, I'm going to go to a
much lighter blue, much lighter than
both of those really. And let's see what happens. I'm going to add a
layer above this, and that's still
too big, too small. I'm gonna go even lighter. And see now we can run
a tile in along there, or we could use this
one, select it. So I've selected
these light tiles. I'm gonna go onto this
layer and I'm going to hot. So what that's done is it's
now cut those tiles out. See that they're all cut out. And then I could go in and use my eraser to smooth
out that outside line. I could use it to
erase a space as if this is going to end up
being that border tile. Not sure that
erasing it the way I did with selecting
the other layer was super-helpful because I probably would be better off to just go in and erase it
like this one back on. You can see how I could create a little border along there. So it's up to you
whether you think that is a lot more time-consuming than just having
gone through and use your little tile and just manually drawn
those in like this. I think I would space those
out a little bit more. So going to the Stroke path, adjust the spacing here. The smaller the ER of course, the smaller the gap will be. So want to make that gap
a little bit larger so that it's matching the gaps
between your original tiles. So you decide, do
you think that was faster to do it this way or the other way that
I just showed you. So that's one thing
that you could do. I'm gonna go through
off-camera here and just probably
finish up that border. And then we'll talk about the
fill in spaces in-between. So we'll do that in
the next lesson.
5. Lesson 4 Adjusting and Finessing the Lines: Hi guys, welcome to lesson four. In this lesson,
we're just going to be adjusting and finessing those first lines of
tiles. Let's get to it. So I've gone through
and I've drawn all of those lines and there are some things I need
to change and fix. And I thought we
could do those on camera or together
here in class. So there was one little
tile that was missed there. So that's one where I
actually have it on. A third layer is about
one to three layers to do this right now, I'm going to just use the free hand
selection to adjust that. Sometimes it's a
little hard because the selection itself kinda hides what you're
doing That's close, close enough for now. We can do some adjustments
later in a case like this. Now that's, I think, is that on this layer, it's
on this layer. I would do the same thing, move that in a bit closer, but I also have it a little bit too far from the line there. So you could do the same thing, just select and move it over, or you could use
the liquify tool. I've got the push set really
high and maybe too high. I could just use it to just slightly move some of the tiles. So that's another
possibility for you. And I think I would use that on this lines here
too like I could, because the one I
want to move here, so I'm gonna grab it. So we have the center of your
brush right up on the line. If that's the one
you're actually trying to move like this here, I would go smaller in here too, if I wanted to just kinda
tighten that up a little bit. And then of course
I've got a lot of erasing and I've done those on separate layers
to make it easier. So we'll start with this layer. So that's one of the things
that's on this layer. I find it's easier to
kind of go up in size a little bit so you can get
a really good look at it. And you see these shapes end up still with really
straight edges. And that's what you want.
You want them to be as if they've been caught
perfectly straight. They have a tool called
a Nippur and nipper. It's like a big set of
pliers with straight edges, sharp edges that can break
off a piece of the tile. I do have a couple
of those that I used for stained glass. Now this is on a
different layer, I think at this one, yes. So I could cut that
one off a little bit. I see on that original layer I have to go back and
do some touch up. So again here I am making
sure that the piece that's left is as if it has been
cut perfectly straight. And as fault like this, I
might go in and actually manually draw a
little tile in there. Now, this one here would be a lot easier if I just
flipped it this way. And it was easier for me to
just kinda keep one line going rather than lifting and starting over on
each of these spots. I've just reduced the opacity. That's why it looks
lighter, but they are all the same color. Couple of more spots here. This one I could bring back
up to full opacity now. So you can see now something
like this would not occur. You would definitely have to
have separate pieces here so you can decide how you want to divide
something like that up. So you might wanna do
it somewhat like this. So the tiles on both sides or maybe a little bit
more evenly sized. And while I'm enlarge this
pig might not be a bad time to draw in a couple of the little tiles that I
have that I need to fix, like they need to fill in. So I could do
something like this. I think this one here, I
would just enlarge it a bit. And if it looks too long, like now that one to me doesn't
seem to fit with these, you might consider just going in and dividing
somewhat like that. I think this one here, probably on this notes, this layer here could be
moved in a little bit closer. So decide whether you
want to do that with the Liquify tool or if you
want to just select a section. Yes, I was on the
wrong layer there. That's the layer I want. I think I would rotate it and then just tap it into place. That looks pretty good. You're trying to be fairly
consistent with your spacing, but if you're not perfect, it won't be the
end of the world. That's one of the things about
the mosaic work that I was looking at is that a
lot of it is imperfect. And what I'm going
to flatten these onto one layer because I keep choosing the wrong layer when I want to make
an adjustment. Church knows maybe over here, I think this one will have to be adjusted a little bit more. We could do something like this. This looks all
weird, so I'm going to change the shape of these. And in this case, I think I'm
just going to draw them in. So I'm going to draw as if
it's one large 1 first. That wasn't beautiful,
but that's okay. I'm going to use
my eraser anyways. Maybe that's just a
little too rounded, so I'll straighten that up. And now we need to decide on how we want to divide
this while I'm thinking of triangle
there would work. And then this as a square, although that makes
that really uneven. So maybe I'll enlarge
this triangle. I still think this one
needs to be a bit bigger, so I think it's the spacing
here that's bugging me. So I think what I'll do is draw this whole section
in, fill it all in, make sure that you don't see any little bits of
white showing through. Then decide on your spacing. So on another layer, what I might do is
something like this with a pencil is just, I'll do it with a white pencil. It's on another layer, so I'm going to be able
to get rid of it. I'm just roughing it in at
first to just kinda decide. I think that spacing
would be okay. So now I can go down to
my other layer and then just do my actual spaces here, trying to keep them fairly even. And that might mean
adjusting these as well. I can do some of those repairs off camera because I really want to start talking
about this background. So I thought we were going
to cover it in this lesson. We didn't. I'll finish this up. And then in the next lesson we'll do those
background fillers. Okay, I'll see you there.
6. Lesson 5 Filling with a Background Tile: Hi guys, welcome to lesson five. And less than five
here we're going to be filling in the background. I'm gonna be showing you some of the specialty brushes I've
created for that purpose. And explain any of the other
considerations that you may find along the way.
Let's get started. Okay. So I've done all the adjustments
I think I can make here. You know, I guess I
could be really picky, but I think we're ready to
move on into the next step, which is adding the backgrounds. I don't know which one I like. I tried a couple here and I've got them basically all
set up the way I want. Let's try these probably
these three here. This is just kind of, I'm calling it artisan
tile because it's like tiles that have been specifically cut to fit whatever opening
shape I would have had if I was doing random
kind of Tile arrangements. So that's one of
the possibilities than there is this one
which I really like. I've called it broken
China because it reminds me of the type of mosaic that style
that people do with broken pieces of dishes. But of course could be done exactly the same way for tiles. So there's that. Let's go to Options. And then this one here is very similar to one of the
example ones that we saw where a pattern has been
created out of those tiles. So we've got sort
of half circles and then filled with
straight lines. And I don't know if that one, that one's kind of nice to
really any of those choices, you could experiment, you could try any of
these other ones. I've got some straight lines, that one's a bit big so you
could go into the grain, scale it back a little bit and see that one could
work quite nicely as well. It's really artist's choice. Oops, I guess I should
move my water bottle. Sorry about that. Definitely your call. That's why I'm gonna give you a couple of
these to play with, because I love to see everybody come up with something
a little bit different. Now, this is a brush, just like anything else
so we can brush it on. I've got the lines. Are the brushes set so that the edges of them is very sharp. So you can see that
you could easily paint in and still have a very
nice sharp edge there. Now here's one
where I've got that accidentally set or
an orient to screen. So that's one that if ever
that happens and you see it. And you want to not
have that happen, just go to your Properties
and take that off and it'll straight up so that even
if I'm at an angle here, It's still going to put the
pattern on nice and straight. So like I said, you
could paint these on. Another way you could
do it would be to use your free hand selection and
select the area carefully. And then, like I said, carefully because it's easy to have a problem like that where your line is a
little bit broken. The nice thing
about that though, is once you have it selected, I'm on a different layer here. I don't have to worry about
the edges quite as much. I do find though most of the time when I do it
with the selection, I end up having to go in
and fix things up anyways. So it's really up to you. I personally think
it'll just be as easy to go in and
just paint them on. Choose an alternate colors. So I think I'm going
to use a light, light, light version of this same
sort of a turquoise color, maybe like a little
tiny bit grayer, that might work nicely. What pattern did I decide on? I'm gonna go with
that broken China. So now I can go in
and just simply paint in all of these areas and
see I find that that's okay. Like the edge that I'm creating is nice and clean and sharp. And I've created these brushes so that even if
you lift them up, when you go back down, you're going to be lining right up some of those tight areas you may need to make your brush a tiny
little bit smaller, but I was able to do
it right on that one. There's still maybe areas
where you're going to want to do some adjusting like here, I would need to do a
little bit of erasing. Here. I might
possibly go in with just a regular brush like my
trusty Posca paint marker, and just draw in a couple of the shapes so that
they fit into some of these tighter spots
here on that eraser. Just remember that
whatever you draw and you want to keep all of the lines, lines, and spaces
quite consistent. Here you could
decide, Is that okay? Do you want that amount
of space or do you want to extend that line and fill in? I see a little bit of a
mistake here with this layer. So I'm going to go through
and just erase that one leg. And right here, I find
with something like this, you're constantly making
little adjustments as you're going through here. I think what I would
do here is just get my posca and just make
that into one large shape. Yeah, so little things
will stand out to you here and there and you can
go in and adjust them. It probably in that case
would have been fine. But I liked that so far. So I think I'll
continue with that. So back to that
broken China patterns sample that color again. There must be a
little the missing tile in there as
part of the design. So that's where I
would switch to my posca and I think
I'll just wait and do that all at
the end so I don't have to be switching
back and forth. That's when I'll have to
make my brush quite small. I've got my window
wide open and I can hear my grandson outside. And my mom and dad
just went outside for a walk so I could hear them talking and
it's such a sweet, sweet sound to here. So now I go in and do
any little touch ups, things that I've missed or adjustments I might want to
make on some of the shapes. And of course there's
gonna be some. It's that I'll have
to draw or erase. So what I'll do is spend a few minutes doing
that sort of fix up. And then we'll meet
in the next lesson. And that's gonna be
the really fun lesson where we start doing some of the detail that makes it look really
three-dimensional. So we'll add Grote, we'll do some of the
shading and highlights. And it'll be pretty darn close to the end
of it at that point. So I'll meet you in
that next lesson.
7. Lesson 6 Adding the Highlights and Shadows: Hi guys, welcome to lesson six. This is the lesson where
we're going to really start showing some dimension. So we're going to work on both the highlights
and the shadows. Let's get to it. Okay, I think I've done most
of my touch up. It is a little bit hard to see. And I found that the
fastest and easiest way was to apply a background
color. Let's go to black. And now you can really
see your tiles. You can really see
things like the spacing, whether or not you have
to make any adjustments. And I have noticed
things like this. So that's a bit of
a boo-boo there. Let's go to eat posca, sample this color and the Y, but with the block,
it just stands out. I just didn't even
notice that before. So this is kind of insurance that you haven't got anything that you don't want, that your spacing is relatively consistent and that you don't have open spots like this
you might want to fix. So I think I might
cut this one back a bit and then draw one in here. I often do with just
the quick draw and then use the eraser to
sharpen up my edges. And remember, you
mainly want to have straight tiles and
fairly sharp corners. They can be a
little bit rounded. So just go through
and check with this and just be sure
because really at this point you want to have everything pretty
much perfect because the next steps that we do are
going to use these layers. And if there's errors
on these layers, you're going to have
three times the error is by the time you're
done because we're gonna do a shadow layer and a highlight layer
based on these layers. So you really want to just
make it easier for yourself. And I'm probably being pickier
than I need to be here, but I do want to
set a good example. Okay? So I am pretty
sure that this is okay. And I'm ready to
do the next step, which is to actually
in this case, put all these layers together. I'm going to select them all by sliding to the right and
put them into a group. Just so that I don't
affect this group just in case I want to go
back to it for some reason, I'm going to duplicate it. I'm okay with layers right now. I'm sure I've got
another 50 layers will have to go, so that's good. And now that I've got it
all grouped together here, I'm gonna do a couple of things. First of all, I think
I'm going to do some of the texturing on the individual layers just to add some interests
to these tiles here. So I may change some of
the colors and so on. And I'm also going to possibly change a little
bit of the colors here. So there's so many different
ways we could do this. I'm thinking that I'm going to work on that initial
layer first. So let me just hide,
screw up underneath. So that's that first set of
tiles that we laid down. I want to add a layer here. I'm going to make
a clipping mask. And then I'm going to grab
in my in my brushes here. I'm going to grab
this one that's called the big texture iser. This will add some detail to those tiles so you can see it just kinda gives it
a bit of a texture. You see that you can decide
whether you wanna go, I just sample that color. No. Now, do you wanna go brighter? You can add just spots of
brightness here and there. This brush is really big right now and the green is really big. You could also go in here
and scale that down a bit. You could go even brighter or with a smaller
brush and then just across and just do a few of the tiles slightly
different in color. You can vary it for sure. You just want it to be a little bit more natural
looking, I'd say. So having a little bit
of variation on these, I think makes it
look a lot more, especially like those
historical ones that we saw, just gives it a little
bit more character. So go through and do as
much of that as you want. And I would do it now because we're going
to put these layers together in a second to do the shadows and
highlights and things. So I'll just quickly
time-lapse this process. You'll see me just going
through on each of the layers and adding
a clipping mask. And this is just this section. I had a bit of a mistake
there where I didn't, I had this bottom, all these bottom rows of
these background tiles on one of the tile
layers. But that's okay. I can I can deal with it because I'm what you
call a professional. I just don't want to
go back and redo it. I could cut all these out and
put them on the same layer, but they're going to end up
on the same layer anyways. So I think I can
just deal with it. So I got to be on that
clipping mask and I can go through and
just colorize. I gotta just stick
to this top row for now and then I'll
switch to the next. That after you go a
little bit darker, a few that are maybe too
much of a difference. Just some slight changes
on some of the tile. I think just really adds to it. So it will go to
this layer where I made that mistake
at the layer, make it a clipping mask. And I can go through and do
a few of them down here too. It doesn't take very many. You could definitely
go and make your brush bigger and do bigger sections
of them if you want. That works too, especially
with this background. I think that works. I'm purposely doing a little bit darker around the
outside edges here. I'm gonna I'm gonna
go a little tiny bit grayer and yeah, you can just. Some of the texture
on here and there. So I liked that. I think I've made that
different enough. Then what's missing? We haven't done this,
these middle tiles here. So you can see some of
these mistakes that I made, but like I said, it's going to end up all on the same layer. So I think it will be alright, sample that color and just go a little bit darker
here in some spots. And then I'm gonna go
a little bit lighter. I think every single
class that I do, I make some sort of a mistake. So I hope that gives you
a little bit of hope that even the so-called
professionals make mistakes. Sometimes have to backtrack
and sometimes have to spend a little time
fixing their little errors. But I like that. I think that has added quite a bit to the
character of it. So now I'm ready to flatten
this group if you wanted to, you could duplicate that
group just so you have those layers and the clipping
mask and then flattened. And now you'll see that if I
turn this layer off and on, everything is on the same layer. So what I wanna
do now is go back to just white as my
background here because we're going to be doing
the highlight and shadow technique
that I've taught you in so many other classes. We're going to make
two duplicates here. We're going to select
the bottom layer. Let's change this to
block over here first, select it, and then
go back and fill it. So that layer is filled
with blast one here we're going to do
pretty much white. I'm gonna do just
slightly light-blue, that same thing, select
the layer, fill it. And so we've got those
two little offsets that we can do for the
highlights and shadows. I probably should have
left that background color on for a bit just so that you
can see what's happening. Maybe I'll do it just kind of a grayish color so that you can see when I
move these two layers, if I move the black, so I'm
on the black layer now. And if I move it, you can see the
shadow there, right? It's cool, really big. So then if I move it, you can see that
that's the shadow. We can move it just a tiny little bit to,
let's say the left. We'll pretend that
the light is coming in on this direction
or in this direction. I'm gonna go to my Gaussian Blur and I'm going to
blur it slightly. And then I'm gonna
go to this layer and move it just slightly
up and to the left. That one I will
also blur slightly. And really, I'm just
doing it maybe one to 2%. Make sure you de-select
if you want to enlarge and reduce and already can't do see such a difference here as far as the dimension. And that is exactly
what we're after. We want this to look like. It's three-dimensional. So we've accomplished that. We need to do our background
and we don't want it on this background layer
because we want to be able to have
a bit of control over how light and dark it is and be able to add
some texture to it. So I'm going to
make a new layer. I'm going to fill it
with a similar way to what I had chosen there. Let's go vote about that dark
and fill the whole layer. Okay, so we've got
our little bit of our background there. But what we want to do is
make it look like this grope kinda dips so that
in the middle it's lighter and on the
edges around the tile, It's a little bit darker. So we'll do that by
grouping these layers here. We're going to duplicate that. We're going to flatten it. And I'll leave it on top for now so you can see
what I'm up to. Let's go, let's go
pure black here. And we're going to
select and fill. So we see that it's filled. Let's pull that down underneath. And then now we're going
to also blur this. And again, we're only blurring. I don't know. I'm going maybe
at the most to about 5%. And you see what
that's done is created a lighter area in
between the tiles, around the edges of the tile, It's very much darker. So you really get that impression that there's
kind of a dip there. And I think that is
absolutely perfect. It's exactly what I want. So in the next lesson, we're gonna be adding
some of the texture to the grout and just doing all
of our finishing touches. One of the things I did
notice with this brush here that it is quite
bitmapped, quite rough. The pixels are just a
little bit too obvious. So that's something I'm gonna go back and fix on that brush. And here's an example of
where I had a little bit of junk on that one main layer. And now it's really
obvious because it's been copied over onto each of the textures and
each of the shadow layers. So I would go in on each of the layers and then make sure that I erase all of that out. So I'll do all of
that kind of stuff. And then when we come
back in the next lesson, we're going to be
adding our texture. Alright? So I'll meet you there.
8. Lesson 7 Texture and Final Details: Hi guys, welcome
to lesson seven. In this lesson we're
gonna be adding all of those finishing touches. So we're gonna be adding a
little bit more texture. And also I want to
add a pair of shoes. So feet peeking
out from the edge really helps to give
a point of view here. And it's going to really
make it look like we have a realistic mosaic tile floor. Let's get to it. Okay, for this lesson, I want to actually start adding some texture into the grout
and also to the tile. We did a little bit of that
texturing on the tile, but I think we're
gonna be able to do a little bit more
in this lesson. I think the easiest thing
to do is going to be to add a clipping mask above the grout layer. So
that would be that. And let me enlarge this a little bit just so that I can show you. And the grout brush that
I have here is going to add the green there. I think that's okay. It's going to add just
that little bit of texture that makes it
look a little bit Motley. I don't want to go
too much darker. I want to stick to that
color that had there. Just to be able to add just
a little bit of texture, light that light and dark bits. I think that makes it more realistic so you
can set your brush pretty big as soon as you've got your texture that you want, you can see that it's
going to work just fine now I've got
that quite light. Let me go a little
bit darker here. You can also change
it up so that you possibly have more
light coming over here, so that would be lighter. And then as you're moving
down into this corner, you can have it darker. It's up to you as to what you want your finished
effect to be. I'm also going to be dark thing. It just kinda wherever the
highest kinda get tight. I figure maybe in those areas, more dirt would collect
are just more grunge. I think that's started to really add to our overall texture. And I think that we
could even go in with other types of brushes
that you might have in other stats like
a spatter brush. So I'm going to add a little
bit of splatter here. Let me go in and make sure
my green is fairly small. And that one looks very
Grote like my opinion. So you can see little bits
are being added there. And if this was on a street or in a building where people
were walking on it, dirt would collect
in these areas. So it's alright to go in and add a little bit of
additional grunge. And if you have an
area that's dark, you can go back in now
with a little bit of light spattered to just give it that little
bit of texture. You can see how that's adding in there and starting to
look really realistic. So I would go
through and do that on a lot of them than you could. Again, I'm going to
pull this layer up here so that we can take all
of these and group them. So I just lost my
clipping layer there, so I'll just redo that. And then I'm going to take
all of these and all of these and put them into
an additional group. So everything here is grouped. You can go in and do this next bit on the
individual layers. Remember we did have
the clipping mask for them originally, but now we are up here. So what we can do is add another layer into
a clipping mask and then just go in and add a
little bit of that texture. So maybe the spatter and the, either the tile grout
or the Tile Texture. Right now I've got this batter selected and I can go in here. I'm going to actually
make that smaller green. And I can go in and add just a little bit of
that here and there. And I'm not putting too much in and I'm trying
not to have it to contrast because I think it just adds a little bit of interests, like, especially on these
tiles here we didn't see a lot of that
original texture, so we can go in and do that. I'm going to sample the color
and then just go slightly darker and then go in and just
add some of that in there. You could also go
slightly lighter. So that's the color and I'm gonna go a little bit lighter. So I'm putting some additional, just little bits of
grungy this on those. And you could even
go quite dark. It gets your brush big and then maybe just stamp a
little bit of an odd. You can see how that added
texture in there might be just a little bit
too dark because now that it's going on
that background tile, it seems like it's a bit much. So I'm going to
lighten a little bit. And one of the things
that you can do too is have an additional layer
for something like this. Get your texture,
put it all over, and then work with your
opacity a little bit. And then experiment with the different blending
modes to see. And I'll go a little bit
bigger so you can see that. So right now this
is on linear burn, but you could try like really a lot of them
work and I really like how they mix in and make that layer just that
much more interesting. In some spots you might find
that it's just too much. You can go in and erase. It's showing up on spots
that you don't want it. But I feel like overall, I've really captured the
look of authentic tile. I like a lot of the examples
that I've seen online, especially if they're selling
a brush set like this. It'll add a little pair
of feet sitting there. And that's kinda cute. You could do something
like that and I can show you quickly
how to do that. I would go to a
site like Unsplash. You can take a picture of
your own feet of course, but you could go to Unsplash. The images are free
here and royalty free. So you could do, I
would say birds. I view of feet. That might not work
but you never know. Yeah, there's a bunch up here, so I would find one
that's Scott shoes on. That one would be good, but
that one's not on this site. Let's change this to shoes. So there's an example. Want them to have legs. It's really up to you. You could take
something like this, download it. That's
what it's called. So you have to remember
that and hit download. You're going to credit the person if it's
not your own feet, you've got this
person to credit. So take note of that name. Then go to your files here, go to your downloads. Here is the picture. So I'm going to take
that picture and put it into my class assets. So it's just loosen this folder. Now I have a mosaics folder, so I'm going to
stick it in there. So now I know where
the picture is that I'm going to go into
Procreate again, I'm going to add, Insert a file. In this case it's a
file because you've got it saved into
one of your files. Class assets is where I've got these folders,
grab that picture. And what you would
want to do here is to crop out everything
that you don't need. So I would usually start by putting it in position
and get it to roughly the size that
you're going to want to have that gives much of the picture removed that you can just by using selections. I'm going to cut that. I would take out as much
as I can with selections because that is just that much less that
you'll have to clean up. And then what you'll
have to do is go in and erase all of
this extra stuff. This is probably the worst
choice of an example. I would probably take the time to take a picture
of my own shoes. First of all, they wouldn't
be so wreck looking. And then also it wouldn't have all this extra stuff to
deal with along the edges. At this point, what
I would do is switch to a nice eraser. You could choose a, I think what I would do
is a bit of a soft edge, maybe a medium airbrush. As my eraser. Not too small, not too big. That's way too big. And the reason I would
choose a soft airbrush is because that's going to
give me a softer edge here, which I think will look better. It'll blend in a lot nicer than if I had
a really hard edge. Now here I selected maybe a little bit
too much of the shoe. I just want to give
you an idea here. I'm not going to show
you the entire process. This just shows you
how you would do it if you had a nice picture. And I think that you could do much better than
this pair of shoes. I may finish it off and
just have it in one of my mockups in the final lesson. But I just wanted to
give you an idea. Now this one also has some
problems with its light. So I would go into color balance and make
some adjustments here. I'm trying to get that
purposely miss out of it. It's hard to do. I'd rather
just take a new picture and maybe in my
final one I'll show you with the better picture. And of course you want
to size it according to the size that you
think your mosaic is. You could use the shoes as
a way to show that scale. So I'll finish this up and in the last lesson I'm going
to definitely show you the other finished art
that I did and how they looked once I got
them onto some mockups. And hopefully I've got a
couple of other pieces of art that I can show
you at the end as well, just to give you some more ideas and maybe get your creative
juices flowing. Okay, So I'll meet you in
the wrap-up. See you there.
9. Lesson 8 Closing Thoughts, Conclusion and Mockups: Hey guys, welcome
to the wrap-up. Now I always like
showing you some of these artworks finished
on mockups because I think that really
helps to give you a different perspective
and a point of view on the finished art. I love showing them this
way and I hope that you'll experiment with that and
possibly post a mock-up, or at the very least,
you're finished mosaic. I'd love to see it. Other students will
also get really inspired by taking a
look at your work. If you didn't do so already
at the beginning of class, you could press that
follow button up there. That way you'll be
informed of any of my classes as I released them and get any other information I send out in the form of posts. If you're seeing this
class at my school, then of course you can
ignore that and just maybe post your artwork
in the community. You can access the
community by pressing the double word balloons at
the bottom right-hand corner. Make sure you take a look at my two Pinterest boards that I suggested at the
beginning of class. I'm gonna be trying to add more to it before you get there. So hopefully you'll have
a lot of examples to see. And then just do like I did, do some basic searches
in your browser. You can look for traditional mosaic
tile designs just to get some ideas and
definitely look at some of the modern ones that
are being done in classes or by artists similar to the techniques that
I've just showed you. You can learn a lot by
taking more than one class. So I definitely recommend that. I definitely do that what I am trying to learn
a new technique. It's a great way to get a really routed point
of view on how to get around any of the
issues that could crop up the project I show you today, it was a fairly simple one. You can do some really
elaborate ones, as you'll see when
you take a look at some of the
examples out there. I'd like to also invite
you to add your name to my mailing list on the website
at Dolores art dossier. That way you'll get any of the mailings I sent out
from there and any of the new stuff that
I'm going to be doing there is great to
just be in the know. So thanks so much for
hanging out with me today and I will see you
next time. Bye-bye.
Delores Naskrent, Creative Explorer
