Draw Beautiful and Unique Geode Patterns in Procreate

1. Introduction: Hi, I'm Hattie Linton and I'm an artist and illustrator based in England. In this class, I'm going to be showing you how to create a beautiful and unique God inspired illustration in procreate. I myself studied art at school, and I didn't really do a whole lot with it once I left. And it was only in my mid '20s when I decided to start picking up the pens and paints again. And I started teaching myself ink illustration. From there, I got my first ipad and a copy of Procreate. And I started teaching myself how to draw digitally and transfer my ink illustration skills into digital, which has been such an interesting journey for me fast forward to now. And I'm actually selling my illustrations both ink and digital as commissions and also as surface pattern designs on print, on demand sites such as Red Bubble and Society six. These designs are now sold all over the world and I have so much fun creating them and uploading them For this class, I'm going to be teaching you all the steps to go through from selecting your unique color palette, creating your background and painting it, manipulating it using tools like liquefy and hue. And then finally, exporting and choosing the best settings to export your design so that you two can upload your design onto products and create gorgeous gifts and homewares on print, on demand sites. I cannot wait to see what you create. With this, I love seeing everything my students create. So don't forget to upload your class to the project gallery. If this is the kind of class that you really enjoy seeing, please consider giving my teacher profile a follow. And you'll be the first to hear it whenever there's a new class or a giveaway launched on the website. Before we dive in with drawing, let's first up talk about your project. 2. The Class Project: Before we dive into drawing, let's talk about your class project for this class. By the end of this class, we will have covered loads of different tips and techniques in procreate. And you will have created a gorgeous and completely unique geode inspired pattern illustration. Everything that we're going to cover in this class, from the color palette to the way that we design the background and manipulate it and add our details, is going to mean that your God pattern is going to be completely unique to you and different from mine and different from everyone else in the class. Which for me as a teacher, is such an exciting thing to see. And it means I can't wait to see how you interpret this class and create your geod inspired illustration. So at the end of this class, we're going to be exporting our designs out of the procreate app and uploading them as J pegs into the projects and resources tab in this class. Once your class project is in the project gallery, I'll be able to see it and I just cannot wait to see what you have drawn. Okay, now that that's covered, let's dive in with our first lesson. We're going to start navigating procreate and setting up our canvas for drawing. 3. Setting up Your Canvas and Quick Procreate Tour: Okay, let's dive into procreate and start setting up our canvas so we can get drawing. You're going to need to open up the procreate app for those of you that are brand new to procreate, This first view that you see here is called your gallery view. This is where everything that you've ever created appears. This is my gallery view. At the moment, I like to organize all of my designs into stacks. It keeps things nice and organized. If you're anything like me and you start drawing, and then you have to go at something else, and then you learn a new technique and you go and try that out. And you end up with this mess of a gallery that's just full of loads of different things because it's all stored in different orders. One thing that I would recommend to anybody using procreate for the first time or if you're a long time user. I have a stack that I call my junk drawer, which is where I like to keep all my odd sketches that don't really fit with any particular project yet. Or if I'm trying something out for the first time or I don't really know where it's going or something like that, it's quite handy to just have a stack that I can keep it in and then it's not filling up my gallery page because I like to keep everything quite neat and organized in here. That's one tip that I definitely recommend to anyone using procreate, that's my procreate gallery. We're going to be creating a new canvas now for geo design, we're going to want to tap on the little plus icon in the top right here. Then these are our canvas sizes. We're actually going to be creating a new custom canvas size if we tap on this little dark icon here. We then get these canvas settings to choose from. There's quite a few things in the left here that we don't need to worry too much about, like the color profile and the time lapse setting. This is if you're taking a time lapse of your design as you're drawing it, you've got some little canvas properties here. We don't really need to worry about these, it's mostly the dimensions we need to worry about. What we are going to do is we're going to set the width as 7,000 And you want to make sure that pixels is selected here because you've got a few different options here, millimeters, centimeters, inches, and pixels. Generally speaking, in digital art, everything's measured in pixels. If you're having things printed, you might work in inches or centimeters, depending on your printer. If you were doing, say, a magazine illustration. But for the most part you're going to be working in pixels, then it's exactly the same. For the height, we want to be 7,000 pixels. The reason why I've chosen 7,000 by 7,000 this is a big canvas. But what this means is you're going to have so much to work with that when you upload your design onto sites like Red Bubble, you then have an awful lot of choice about the types of products you can add your design to and you're not going to be limited in any way. I find that this is extremely useful for that. This setting here, maximum layers, is actually something that procreate spits out itself based on the size that you sletched to the top. This is because procreate has a limit to the amount of layers that you can have in any given document. And this is fine. This is saying that at 7,000 by 7,000 you can only have 34 layers. That's fine, because for this project, we're only really going to be using about three or four. That's all we need to worry about there. We're just going to hit Create, That's going to pull us into our canvas view here. Now we can start setting up our canvas. And I'm just going to give a really quick procreate workspace to just for those of you that are a little new to procreate. If you're already really familiar with procreate, feel free to skip on to the next lesson where we'll start creating our color palette. First things first, we're going to go through the menus along the top. And the little tool we've got down the left hand side here. Then I'm just going to share with you some of my personal preferences for setting up before I start drawing. First up, you've got this gallery link. This will take you back to your gallery view. We'll just jump back into the design itself. Then we've got our Actions menu. You've got Ad, which is where you can insert anything from a photo, from your camera roll, or a file from your online files. If you want to put some text into your design, this is where you would come to do this. You can also use this to copy your entire canvas and paste it somewhere else, which can be quite handy for some larger projects. Then you've got your canvas settings. This is where you can resize your canvas. You can add drawing guides. There's some assistants here. If you're doing animation, you can flip your canvas round. And then there's some canvas information settings at the bottom here, which you will notice is very similar to the settings that we used at the beginning of the canvas setup. You have your share menu. This is where you pick your settings for exporting your design. We will cover this in a lot more detail in our class later on, exporting designs out of procreate. Next up we have the video settings. This is if you're going to do a time lapse video, which we're not really going to cover in this class, But if this is something you would be interested in learning more about, please let me know and I'd be happy to do a quick little lesson on creating time lapses of your art. Then we have your personal preferences. This is the part of the Actions menu that's actually about how your procreate is set up for you. You might notice that the interface on my procreate is a little different to yours. This is just because I've got this light interface setting turned on by default. Procreate comes with a dark theme. I just prefer working in a light theme. It's just a personal preference. There's also an option to switch on the right hand interface which moves your size and opacity side bar to the right hand side. I am right handed, but I actually prefer having it to the left here. Because it means that when I'm going across the canvas here, I'm not likely to nudge it. We've then got a few options around your brush cursor. I'd recommend leaving these in default, but feel free to have a play around as you get used to it. Next we've got the Adjustments menu. This is adjustments for manipulating your design and just tweaking and changing a bit. We are going to cover a couple of these in this class. We're mostly going to be looking at the color options at the top here and the liquefied tool at the bottom. But there's loads of really great creative effects in this list. And I'd recommend at any point having a play with them to see what they do. We've then got a couple of tools here around selecting, you can select a portion of your design and then you can start manipulating it. Then this is your automatic select tool, which say you had actually drawn something on your canvas. It'll then select it automatically, and this is where you can resize it, you can flip it, you can make it fit the canvas, You can distort it, you can warp it. There's all sorts you can do with this, but this isn't really anything that we're going to be covering much in this class. That's fine over on the right hand side. Then we've got the brush tool, when you select this list then opens up your brush library. You've got your most recent brushes at the top, and then you've got all these different categories of brushes. So we've got sketching and inking and drawing, These are all here by default. Within procreate, I will be selecting brushes that are built in by default rather than using custom brushes, although you can install custom brushes to procreate, and that's a great way to just add more functionality to your app. Then we have a smudge tool, which is just a tool that helps you smudge in your designs. This is quite handy for some more artistic styles, but we're not really going to need this for today. You've then got your razor tool, which if you select it again, you get the same brush library that you did in your brush tool. You can actually select different erasers based on the erasing that you want to do within your drawing. That's quite a handy thing to know. Then you've got your layers tool. You can actually select different layers and you can actually create layers on top of each other so you can actually build up your design. And then if you needed to, you can change the order in which those layers appear so that which one becomes on top of the other. And you can move them around independent of each other. So you can see this back piece is moving, but this one staying the same. Then you can move them back again. You can rename your layers. Being able to manage your layers is a really important tool within procreate because it helps you just keep control of what you're working on in your design. And you know exactly where everything lives and it makes it a lot easier for maintaining your design in the future. Last but not least, we have the color picker. We have several different color tools at our disposal, and they're listed here along the bottom, you've got the disc tool, this allows you to pick your color value around the edge. Then on the disc inside, you've got brightness and saturation that helps you to pick a color this way. You've then got the classic view, which is where you can change the color in the first line. You've got your saturation in the second line slider and you've got the third is your brightness. That's another way to choose colors. You can also just move the cursor around the square at the top. You've then got harmony, which is quite good for creating colors that go together. This is set up as complementary, but you can have an analogous. You've got triadic, there's all sorts. If you've got one color in particular that you want to be drawing with, it will then give you the values that go alongside. If you're familiar with color theory, this is going to make a lot of sense. But if you don't worry because in this class we're actually going to be creating our own color palette. We've then got values. This is really helpful if you wanted to pick a specific color. And you already know say, the RGB color value or the hex value for this. Again, we're not really going to need this, but this is quite a good way to fine tune your color selections if you needed to. Last but not least, we've got palettes and this is where we'll be working predominantly procreate. Does come with some palettes pre included, but we're actually going to be creating our own color palette in the next lesson. Lastly, we've got this tool on the left hand side. This is our size and opacity tool. When we're selecting our brush and our color, we've got different choices here for selecting how big the brushes. Then similarly, how opaque the brushes. If we selected something really huge here, this would be a really big, we've got the opacity at full. That would be the largest size there for that one. If we bring the size right down and the opacity, we end up with quite a different effect. This is quite good for building up as well. A lot of these brushes and tools actually have their own settings built within them in the library. If you selected a brush and then selected it again, you actually get the brush studio. And this is where you can play around with the actual properties of the brush. If you're brand, brand used, procreate, I would recommend you don't mess around with these settings too much. You can reset them if you end up changing everything and deciding that you want to put it back to the way that it was, you absolutely Can you do this by going into about this brush and then just reset all settings. But for now, I'd recommend just leaving the brush studio. That's our quick guide to the layout of the procreate workspace. I'm just going to delete our layers here and clear these out. And then we will be moving into the next lesson, which is going to be creating our unique color palette. 4. Creating your Unique Colour Palette: Okay, great. So now we are ready to start creating our unique color palette for this design. I've actually got a few crystals here because I'm quite a big fan of rocks and minerals and godes. Anyway, I've actually got some great examples I wanted to share with you guys about what makes a god, and about the color palettes we can use. First off the bat, I'm not going to say that these have to be accurate drawings and accurate color palettes, but I think it's quite interesting to see how gods are actually formed in creating our design. This is a slice of Agate that I've had for years. I just love all the different blue shades in it. I think it's absolutely stunning. All these lighter bits in the center here, and then these rings going around the edge, all these different shades of blue. And this almost dark gray, browny blue here along this edge. I think it's absolutely lovely. Then I've actually got another piece. This is just a tiny piece of a slice of Malachite, but this has the exact same rings as a God. I just love that. Even though this is just green, we've got all these different shades of green, including going all the way in the center to almost black, dark, dark green, and then these lighter ones on the edge. But it isn't as simple as a gradient. It builds and there's all these different rings and elements and it's just so very pretty. I've got some other pieces here as well. This one is almost transparent. It's got all these cracked effects inside, which is just so pretty to look at. But again, it's all these different shades of green. I've got this piece of carnelian, which is just, there's a creamy color along this edge. But then these different shades of orange running through. There's so many different things, there's so many different crystals and different colors and color palettes. This one is just a very pretty pastor one, but again, with all these different lines running through them, we're going to be drawing on inspiration from quite a few of these in creating our design. Lastly, I just want to share this fluoride tower. I find these absolutely stunning. The range of colors that you can get. This is actually called a piece of rainbow fluoride. The sheer amount of colors that you can get in these is just stunning. We've got these very pale pastals through the cracks here, and then we've got greens, yellow. There's purple at the top. There's some orange here. That's absolutely gorgeous. That's a great example of a crystal where we've got multiple colors all coming together to create one beautiful mineral. To that end, we're going to start creating our color palette. But we're not going to be following nature, we're going to be creating whatever we like. I'm actually going to be creating a blue, pink and purple color palette for creating our jeered pattern. The way we're going to do this is we're going to open up the color tool and we're going to navigate down to where it says here, palettes. You will notice that there's a few things set up here as well as the wheel. We've actually got a history of past colors, and then we've actually got a palette here, which is the default palette. This black and white one is actually a custom palette that I made a while ago that I was using for a particular project. We're going to be creating another palette and then making that our default palette. Tap on palettes. Then we have a selection of palettes here. We're then going to tap on plus, which is to create a new palette. And we're just going to create a new palette. So we're creating it from blank at the moment. This is now an empty palette with absolutely zero colors in it. What we want to do is we are making sure that this is our default palette. If you tap on any of these three menu, you'll actually see Set As Default as An Option. And you will have this little blue tick to show that it is your default. If I was to select this one as the default, it would now have the little blue tick. This one is going to be our default. I'm actually just going to rename this, I'm going to call this Geodes, and this is going to become our Geodes palette. I'm just going to select Enter Now that it's our default. When we go back to our disc view, we can also use classic view. It's entirely up to you, but I like using disc view. You can now see that God is our palette at the bottom here. Now we're going to start creating our individual colors. For our palette, I want to stick in this lower half of the color wheel for my colors. I wouldn't want to get much brighter, I think, than this blue then pink wise, quite like a pinky purple. But I don't want to go all the way to magenta. We're just going to have a little look, look through these different options here. I'm going to start out what we want is a selection of colors that we can use. If we look back at our God, we want some main colors, darker colors. And then we're going to want lighter colors to create these rings as we go through our design. What I want to do is I want to focus right now on what my three main colors are going to be. I'm going to look at making a blue, a purple and a pink. I'm thinking this a blue here is quite a nice blue. I don't want it to go to light because we do need lighter shades later. I'm just going to select that in my first block here, you can see that's now added the block in. Say you pick a color by accident and you didn't mean to add that in. If you wanted to remove it, all you have to do is press and hold. And then you will get an option to delete your Swatch. And then you can just delete it like that. I'll just go back to my blue here. If you tap a swatch you've already created, it will then reset the color wheel to that color, which is how we're creating this palette. I'm quite happy with that as my blue, I then want something a bit purply. We just have a little look sticking around this darker area. I think a bluey purple, but maybe more into the purples here. I think that will be my purple color. Great. You can actually see by them going next to each other what they're going to look like on the page. Then moving around again, I want to a pinky purple. I think that looks pretty great. And I'm going to add that in as my third color at the moment. Those are my background colors. Then what I want to do for each of these is create varying shades of light to go along with it. We're just going to go up, which is increasing the saturation, but also round a bit to the left to add a little lightness. We're not going to go all the way to the top, but we're just going to go up a little bit. I'm going to add that blue in there. Then we're going to go round again and add that blue in. And then I'm going to create one that's not quite all the way to white, which is at this 45 degree angle here, but just enough into the blue that we've got a light blue. We're basically having four shades for each color. Then I'll move on to my purple and I'll do the same. We'll go up, then we'll go round a bit, and then round a little bit further. Those are my four purples. The same for my pink. We'll go up, we'll go almost all the way around. Then we have our selection of colors there. Just because we're selecting these now, doesn't mean that we can't use other colors later if we decide we want to. But it's really great to have a basis for where we're going to start with these designs. It just makes it easier than making it up on the fly as we go along. Lastly, one little tip that I like to do in all my drawings because it just makes it easier if you just tap in that corner, you can get a pure white and we're just going to add white. And then I'm just going to pick a middlely gray and then a black all the way at the bottom here. If you double tap at the bottom, you'll get a perfect black as well. I didn't quite do that. Right. I'm just going to delete that double click, and then that's our perfect black. So I've got a white, gray and a black. You can add more to this if you want to. That's entirely up to you. But this is going to be my gods palette for our drawing. Now that we have our palette, we can get started in our next lesson, which is painting our background. 5. Painting the Background: Okay, great. So you'll be happy to know that we are now going to start painting. The first thing that I like to do before I start any drawing, and I'd recommend you to do the same, especially for this one, is I'm actually just going to pinch slightly and just pour my canvas in a bit so that it's got the work space background around it. I just personally find this easier, especially when I'm working right up against the edge edge of the canvas, which we will be. It's just so much easier to go across rather than having to navigate it when the canvas is at full size. I'm just going to undo that. We're going to start painting our background. What we want to do is in our color, we're going to pick our first color from the three. It doesn't matter which one you want to start with, I'm just going to start with my darkest blue. You definitely want to start with your darkest colors first. That's important for our background. The lighter colors are going to be for our details. Later, we're going to go into the brush library. We're going from the painting section because you've got all these different categories here. We're going to scroll down and we're going to select oil paint. The reason why we're picking this brush is that it actually creates this very nice streaky effect. This is going to help us later when we're creating our lines and patterns, when we start manipulating our background. You're going to want your brush size to be at 100% and you're going to want your capacity to be at 100% We're just going to start creating bits of color all over the page. And we're going to switch between our three main colors with quite a lot variety. One thing you don't want to do just to be clear, is you don't want to be using your brush so much that you're creating these very solid blocks of color. We're actually looking for these streaks because this is going to help us create some really interesting texture later on. I'm just going to undo that. We're going to want to layer up our colors and mix them in as much as possible. So a bit of blue over there, add some more purple pink. And we're just slowly filling up our canvas. Sometimes when you go over these, because this is meant to be replicating oil paint, you will find that your colors start to blend together. And that's absolutely fine because we're looking for this cohesion between your colors, we start filling it in. Now at this point, you might start to notice that there's a lot of white missing from the background of your canvas. That's fine. That's why we've got this white selection over here. You can start to just pull in just a couple of little streaks just to add a little bit of white. Then just go over again with some color just to blend that in again. I'm definitely a bit pink and purple heavy here. I'm going to add a little more blue. You might notice as well that I'm doing all of this in one direction. I'm going diagonally here. There is a reason for that. I just think it's going to make the lines that we're looking for when we're looking at these crystals, when we're looking for these lines together. This is going to help us create that in our painting. I'd recommend just picking a direction and going with it. I'm just going to add a tiny bit more pink because in my mind, you can never have too much pink. I'm actually going to reduce the size. So we can start to add in some smaller little streaks here as well. Then a little more blue just in this corner here. I think I'll just add in one more white up there. And I am absolutely guilty of this. In a lot of my work, there is definitely a possibility of overworking the canvas In this instance, what you want to do is make sure that you're not just going over and over and just repeating, and repeating and repeating yourself. I'm definitely guilty of that. Just keep taking a pause, stepping back, looking at what you've got, trying to decide if it's balanced enough. Yet once you think you're happy with your design, you can stop drawing, which I'm struggling to do. We're going to stop right there and we're going to move on to the next lesson. Be cause this is now our background painted complete. What we're going to do in the next lesson is we're going to look at the Liquefy tool. And we're going to actually start manipulating this to make it look like a proper geoed pattern. 6. The Liquify Tool: Fantastic, so far we've got our color palette and we've painted our background using the oil paint brush. Now we're going to manipulate this to make it look more like a geode. The way we're going to do that is within the adjustments menu. We're going to go down to the Liquefied tool and then we've got all these options along the bottom here. There's quite a few that we're going to use in this. This is where it can take a lot of your own personal creativity to create your particular pattern. But I'm just going to go through what I would use to work on this myself. We've got a few options here. What push does? It literally pushes your design along. You can actually create interesting ridges and bumps within your pattern. There's twirl, which I would recommend reducing the distortion probably to around about 40% What twirl does is it actually just moves your patterns around. If you were to press and hold it, you can see it's literally twirling your design up. Obviously, we don't want that if you do find yourself using a tool too much. There's a great tool at the end here called reconstruct. If you just reconstruct over the area where you've made a mistake, it will actually pull it back to where it was before. If I actually Bush reconstruct all over my painting here, it will put everything back to the way it was at the beginning. But this is a really handy tool to just fine tune some areas where maybe you've just pushed a little too far or you just want to bring it back a bit by pushing it the other way, you then just make it worse. That was where we got to, we've got some, a little bit of twirl going on you to lightly tap and a little bit of a jiggle. A little jiggle. Then you can see if we just pick up our geode again, you can see already how we're starting to create the same patterns and these lines and things, they're already starting to come in. And you can see where the white we added or left behind. If you were good enough to only add so much color that you had some of the background left is actually coming through really, really well. 12 right and 12 left. Obviously it's the exact same tool, it's just, it's going in a different direction. I'd recommend picking one. Because if you 12 everything and then you select 12 left and you start going over again, you end up getting these really wibbly lines, which can be good, but it often ends up meaning you get these points. If I just zoom in here, instead of getting a nice wavy, you've actually got things that are doubling back on themselves in small parts. It can look good, it can end up just looking really messy and confusing. I'm actually just going to use reconstruct to just go over that bit a little bit more. Then we'll just bring the 12 right back in because I'm picking 12 right for my 12 tool. We've then got pinch, this is where you might see an area like maybe this big block of pink here. You think that's a bit much, you can actually pinch it. What it does is it just pulls in, obviously. You have to bear in mind that to pinch it is actually pinching the other colors and pulling them in with it just by, you can then just reduce some of these areas. Then by the same token, you've got the expantle which actually expands some of these. I might want to increase that light blue down there. Maybe this little area is very interesting. Basically, it almost zooms in on that particular area and you can really fine tune which bits you like the look of. I'm quite happy with this as a design. I might just push some of this pink in because that's quite a cool color. We haven't got too much of that, but I'm really happy with how this has come out. We've got some really interesting lines here in these variations is what we're looking for to add to our geodesign. Up next, I'm going to quickly talk you through some color tools. This is more just if you're not too happy with your color palette at this moment rather than having to go all the way back to beginning and picking another color palette and then drawing it all again. I'm just going to show you how to fine tune what you've already got using the color tools in procreate. 7. Using the Colour Tools: Okay, so now that we have painted our background and manipulated it using the liquefy tool, I'm now just going to show you a couple of color tools that are quite handy with in procreate if you wanted to just fine tune your color pate a little bit. If you go into the adjustments menu in the top left here, you can then find some color options in the first block of adjustments. Firstly, we'll just look at hue saturation and brightness. The way that these sliders work is very similar to the color sliders that you get in the color tool. You've got your hue which changes the main color profile of your design, 50% being the color that you started with, If you're just playing around with it, you've then got saturation, which is about how vivid your colors are, how brightly colored they are. Obviously, if you go all the way to the top end, your colors become almost neon, and in some cases can end up being quite a bit garish. If you go all the way to the bottom, you end up with a gray scale design, which can look quite cool, but that's not really what we're going for here. Then we've got brightness, which is about how much light and dark is in your design. Obviously, you can pull it up and it adds more white to the design until you get to the very end and it's completely white. Or you can go the other way and go all the way to black. Obviously, some of your lighter colors are still shining through because you can't turn everything completely black. That wouldn't be the point of that. Anyway, I'm quite happy with the color palette that I've got, but if you wanted to tweak yours for any reason, these would be the tools that you could use that for. Another tool within the adjustments for the color changing is color balance. This basically analyzes your color profile within your design. It splits everything into either cyan or red, magenta or green, and yellow or blue. And what it does is it actually looks for these shades within your design. And you can then manipulate them on a more specific basis. If I were to up this slider, for example, on the can end, you can actually see, if you look up here in my design, you can actually see some of the blues becoming more vivid. And if I was to take this slider all the way to the red end, those same areas are actually becoming red in color. It's not manipulating the whole image. The way that the hue slider was, it's only targeting certain color values in how these are changing. I'll just slip that one back to the middle then. Same for the magenta and green. Obviously the majority of my picture is varying shades of pink. It's obviously picking up an awful lot of magenta. If I go all the way to the end, it's changing all those pinks and purples into this very, very bright magenta. If I was to take this all the way back to the other end, you've then got these dark greens coming through, which is quite an eerie erie style. But like I said before, I'm quite happy with the way that this is set up. I'm not going to change anything. There's no number values for these, which makes it quite hard to see if you've actually made a change, especially if you didn't want to. What I'm going to do is I'm going to leave the menu and I'm just going to hit Undo. It just means that if there were any slight changes that I couldn't really perceive, they've now been undone. Next, in the adjustments menu, we have curves. Curves is an interesting one funny story when I was studying graphic design at school, which is a story of itself because my school didn't actually offer graphic design as a module. I was just teaching myself, which is a bit of a story of my life. I had no understanding how these curves worked. But I love playing with them because they would create such interesting and weird effects. I'll be honest to this day, I'm still not completely sure what curves actually do except really psychedelic effects. In your drawings, I used to just sit at the Mac computers in my school's art lab and I would scan in my paintings and then I would just play around with these for hours. Yeah, that was that. But there's all sorts of playing around with this. I wouldn't recommend doing anything for this particular project, But that's entirely up to you. If you want to create a completely psychedelic geode pattern, go right for it, I'm not stopping you. Same as before. I'm just going to undo to take it back to my color palette of choice. Finally, in the color choices, we've then got gradient map. What this is showing is it can actually apply a gradient library to your design By selecting these filters, it's like the filters you can get in Instagram. You can just select a filter for your design and it will just apply it to your pattern. They're very cool, but this isn't what I'm looking for for this particular project. But if you wanted to, you can absolutely play around with these gradient maps. Again, I'm just going to hit undo. I'm really happy with how my background design currently is. I really hope by this point in the class you are too. In the next lesson, we're actually going to start adding in our details and creating all these gorgeous specific lines in our design for our geode illustration. 8. Using an Alternative Colour Palette: So far we have painted our background. We have played around with the liquefied tool in loads of different ways, and created this really interesting pattern. We have had a little play around with the color tools. Whether you've chosen to change the colors or not is entirely up to you. But what I will say, if you've drastically changed the colors, what you will now find as we add in our details, is that your color palette doesn't match anymore. So what I would recommend doing, I'm just going to quickly show an example if this has happened to you. Let's say I decided that I wanted to do this greeny style instead. Let's say that's now my design. Obviously all of my details in my color palette still blue and pink and purple. Which it's an interesting effect, but it's not really the effect that we're looking for for this. What you're going to want to do is you can do it in the same palette because we've got quite a few spaces still open here. You don't need to make a new pallet, but what you're going to want to do is select the little square in the center of this here. And what that's going to do is it's actually going to create a there we go. It's actually going to create a little color picker as you move this around, I don't know if you can see the top of the dial. What you've got is at the bottom, you previous color selected. And at the top is the color that you are now looking at. As we move it across, you can actually see the top half of the circle changing color. That is how we are going to start selecting our colors. This is going to be a bit more fiddly, but it's entirely up to you what I would recommend doing if this was now mine. I would then start selecting, I would find the darker color. So I'd go, well, that's a dark green. I would add this in as one of the colors, and then I would start again, and the next dark color is probably this teal. I'd add that in as a color. Then again, I would look around and I think the other third dark color, it's probably going to be this yellowy green here. That's probably the best way to look at it. Then from here, you can either look for the lighter colors in the panel. What I'd recommend doing is that same exercise we did at the beginning. We are basically going a little bit lighter towards the white and then towards the white again. You're then building up your new color palette to match what you've changed in the background here again, you're then selecting your middle color. We'll go up a little bit and then we'll go round again. Then we'll go round to the almost white version. Then for the darkest green, up again again, and then almost white. What you've now got is a color palette that works in the exact same way as your original color palette, but it now matches what you've changed your design to. If that's what you've done, that's how you're now going to get your particular color palette. I'm going to switch mine back to my pink and purple because I was quite happy with that. I've just pressed undo until I get back to here. But you will notice I've still got the greens in my color palette. Because I'm not undoing the changes I'm making to my palettes. I'm just undoing the changes I'm making to my canvas. 9. Drawing the Lines: Okay, great. So now what we're going to do is we're going to start adding in our details by going into our color wheel. We're going to want to make sure that we've got that white selected, that we at the very beginning. Then within our brush library, we want to be in the calligraphy section and we want to select mono line. This is going to be our key brush for creating our effects. One thing I love about this monoline brush, I use this in almost all of my illustrations. It just fits with my personal style. It doesn't matter what angle you have your pencil, it doesn't matter how light you touch it with the pressure or how hard or how much you use it like this. The lines are always incredibly smooth and they're all completely the same weight, hence mono line. This is by far one of my favorite brushes in the app. It just suits my style of illustration really, really well. What we're going to do here is we've already got it looking quite a bit like a geode and I think it's gorgeous. But what I'd like to do is add these details that give it more of that illustration Kick. What we're going to do is we're actually going to identify areas of this that we can section off as segments and those are going to become where we put our other color lines and really get in on this detail here. First things first, you're going to tap on layers and you're going to create a new layer. Because what we don't want to do is draw directly onto this background image because we're going to use it again later. We don't want to mess up anything that we might want to reuse in the future. It also just protects us. If we make a big mess of this new layer, it doesn't matter because we can just slide across and delete it and start again on our new layer, making sure that the new layer is selected. We're then going to start to identify segments of our drawing. First up, I can see there's a great little shape appearing here. I'm just going to draw on that. I'll tell you what, I'm actually going to undo that and just do that again and just show you where I was starting. If I start off the canvas here, this is what I was talking about earlier when I said I'd like to pinch the canvas and just make it so that I've got this nice space around it. If you start with your pen or pencil rather off the canvas and then bring it on, draw the shape you want and then draw it off again. You then create these very clean lines at the edge of your drawings. It just makes things so much simpler moving forward because you've got all these really nice clean edges all the way around. That's just my personal preference. But what we're doing here is we're identifying shapes in our pattern. Where we're basically deciding within these agates, where these lines are going to go. Then we're going to start adding further details. When we get down to these different shades, like we do in this Malachite piece here, we can actually, we're actually identifying already where this fits within our background. I'm just going to quickly identify a couple more shapes that I can see here. Looking on this corner, there's another great one right there. I'm actually going to draw a really big one, corner to corner. The good thing about this is you don't have to be exact. We're not looking for, need to line up completely with what's already on the canvas. We're just looking for something to follow the organic nature of it on this side. I'm actually going to come up here and then close that one off there. This shape here in the middle is great. And I'm actually going to draw around and then bring it back in on itself and make a bit of a loopy one there. That's really cool. I just want to create a couple more. We'll do a little line in here, actually would be good to make this like a vein. What we're going to do is we're going to add some crystal effects later. I think having this section here as being a bit more crystallized would be really cool. And I'm going to show you how we're going to do that later. I think that looks pretty good. We can always add more white lines in later, but it's good at the beginning to just identify where our core areas are going to be. In fact, if that's going to be a vein, I'm just going to draw in another one here. Actually, maybe we'll just do one more along here. We'll just go up and then down again. Those are our white lines. And now we're going to start adding in our more precise detailed lines using our color palette. Now that these are all set up, we're going to create another layer again. And this is going to be where we start storing our lighter color lines. At this point, we've got three layers and they're labeled quite generically. I think it's worth us to start labeling these so that we can start doing a bit of layer management. For layer two, we're just going to select rename, and I'm just going to call this one background layer two. We're going to rename this, and I'm going to call this white lines then for layer three. We're going to rename it. And I'm going to call this Details. We're going to want to make sure that our details layer is now selected because we're going to do whole new details here within our color palette. We're going to select one of our lighter colors. I'm going to just start with our second column here. I'm just going to go for this blue. I'm just going to find an area where I'm going to start drawing the blue in. I'm going to start in the middle here. Actually, I want my size to be smaller. I don't want everything to be the same width as this. Because the point of these lines here is that these are our core section lines. We want them to be at least a little bit smaller. I'm going to bring this down to about 75 or 80% roughly. We're just going to follow the shape on the inside. And we're going to start just drawing around the edge there. Then we're going to do it again. Then we're going to go into our color palette and I'm going to go a bit lighter again and maybe even a little bit thinner again, around 50% We're going to start drawing another line in. Finally, we're going to do another one again. Now at this point, if I was to draw all the way down here and then back again, what we end up doing is creating this very thick segment. And this isn't what we're going for at all. We want to keep our lines nice and neat, nice and clean. I'm just going to do that. What we're actually going to do here as I come down, if I start at the top here, as I come down, I'm just going to reach a point where I know I can turn around safely. Same for this point here, and then all the way around to the edge. We're not looking for everything to be completely uniform, but we are looking for it to start to double up in size, where we're doubling back on ourselves. What you can see starting to happen here now, is we're actually creating these really cool GOD effects. The lines, the same varying shades coming in, and now appearing on our drawing to follow this particular agate. As an example, I'm actually now going to add a darker line on the inside. I have a couple of options here. I can select my darkest blue, but if I do, then there's a good chance that it's not actually going to show up as well, because this is obviously in the background. What I actually want is a blue that's even darker than that. I have a couple of options here. I can either select the blue I want and actually bring the color wheel down and find that darker blue and add that to my palette. That's one option. The other thing that I can do is I can actually start adding in gray and black, which I have been using in quite a few of my geode patterns. For this example, I quite like that darker blue, so I'm going to use that for my inside again. I'm just going to start at the top here. I'm going to come all the way down again. I'm just skipping that corner because I'm not going to be able to go in and come out again. Then we go to the top. This is quite a dark central piece of the geode. I'm actually just going to do a second line in the same color. Here we go, We're going to finish it off with a lighter one. Again, I'm going to pick the lightest blue. And we're just going to do one little one here and up to there. Then we have our first segment of our geode. By sticking within our color palette, we've created this really nice gradient going from the white through the darker blues to the lighter blue, and then the darkest blue, and then the light blue again. It's created quite a nice interesting effect. We can now add this all over. I'm going to add the same up here, and I'm going to use purple for this one. We've got our darkest purple here. I'm actually going to start going the other way. I'm going to start with the lightest one. We're going to push this up to. I'm going to do about 80% I'm going to draw again, starting off the canvas, I'm going to draw a couple of lines, one tip with this particular brush. The quicker you move your pen, the smoother the line actually becomes. If you're drawing and you're being super, super nervous and you're jittering around, you'll actually create that jittery thing. But the great thing about this pen is because it's got this streamline effect, it actually creates a very smooth line every single time. I recommend just taking a bit of confidence and actually just going for it with your lines. Because they don't need to be exact, they don't need to be precise. We're going to undo those. I've done some of the lighter purple. We're going to go for the mid purple. And I'm just going to decrease the size again. That's our mid purple. And then we'll go to our second mid purple. This one. There we go. You can see already these purples are starting to get lost with the purple background, but that's okay. And then I'm going to do the same thing again. I'm going to come down and create a nice dark purple. And we're going to add that in there. I'm going to add dark purple and dark purple. Then finally I'll finish it off with another white. Actually I'm going to go even thinner again, maybe 30% And I'm going to add some little white lines in here. We've done another one up here, and then we can do the same for these other areas off the corners. I'm now going to go away and fill in this section, and this section up here. And then I will come back and show you what I'm going to do with the rest of it. 10. Adding Crystals: Okay, I have just been working through these other segments. I'm just going to quickly talk you through what little additions I've been making down in this corner section here. We had just one big area, but what I've actually done is it's been split in half. As you've reached that point where not all the lines can go all the way to the edge. We've now got these very interesting closed off loops. This has actually been separated twice over in this particular corner. This one's got a nice mix of the pinks and the purples in my palette. I did also add in a darker pink to go with the darker blue and the darker purple that I'd already made up in this corner. I just added some nice thin, light pink and light blue colors lines for those. One thing we don't want to do is we don't want to fill every segment of this with those lines because the picture will become far too messy. It'll become far too busy. And we want to keep it a little more interesting. That being said, we're definitely not finished. We definitely want to be adding some more details in here. As I'm looking at this here, I can see we already identified that we're going to do a vein of crystals along here. I think it's worth actually doing another one down here. So what I'm going to do is I'm going to switch back to my white lines layer. This is one of the things that I love about digital illustration is you've got so much freedom and so much creativity and you can just decide, oh, I'm actually going to add another piece in here. And because you've got layers management going on, because you can alter your color palette and the direction so easily, it's, it's just a very freeing exercise to be able to say, actually I'm going to go in a slightly different direction. I'm changing my mind, which for me at least, it's much harder to do that when you're working in paints or something more physical. I've got my white line selected. We're going to make sure that our brush sizes back up at 100% and we're going to just turn this into a vein as well. We've already got a white line going on here, but I'm just going to stay on the left hand side of it. And we're just going to draw another line along here. We've got a vein running through here which we're going to make sparkly. Basically, we're going to make it so it looks like it's crystals, it's the insides of the Agate. Then we're just going to add some other darker details to some of these other lines just to give it a little more contrast. We're basically done. We'll start off with the crystal style. What we're actually going to do here, and this is just to protect ourselves, is we're going to make another layer again. We're actually going to rename this one crystals. And we're actually going to move it. So what we want to do, you tap and hold, and we're just going to drag it under white lines. Because what we're going to do is we're going to create quite a messy effect here. And we don't want to have to be cleaning up after ourselves. And I'll show you what I mean by that in a second. We're going to go into our brush library, and we're going to go to spray paints, and we're going to select Flicks. If we have a little play in the brush studio, what you'll actually see is that this gives us quite a nice little build up. And you've got very tiny parts of the flicks and you've got bigger ones, and these can build up using the different colors in our color palette and white, and this is going to create quite a nice sparkle effect in our geodesign. That's the brush we want. We are on our crystals line and we're going to zoom in. We're going to check the size of our brush. We want this one to be quite small because this can be quite a big brush. If I zoom out again, I'll just show you this. That's how big the brush can be. We definitely don't want it because we're focusing on these areas down here. We're going to start off with one of our colors. This vein is pink, so I'm going to stick within my pink colors. I'm going to start with this middle pink. The second lightest one. We're going to go to 'da about a size 17% thereabouts. We're just very carefully you see the brush moves on its own. I'm just going to follow the line of the vein. Come back here, you can see the brush is actually going over the edge. That's fine because that's fairly easy to clean up. But what I was talking about before when I said cleaning up was if I was to move this crystals back over the white lines, what you've then got, you would then have to clean up all along here as well. You'd have to clean up, make sure that all of your white lines were really pristine again, by placing the crystals layer under your white lines layer. You'd then only have to deal with the little splashes that get over the edge. Just going to go back to our Azor and we're going to clean up all along this edge. But I would recommend doing this step at the very end. We're going to make our mess. And then we're going to clean it up and we're going to have a beautiful sparkly crystal section. Back to our brush. We're just going to follow this around. Try not to press too hard like I just did because then the flicks go everywhere. I'm actually just going to make it a little bit smaller. I'm just going to undo that. We're just follow around. Bear in mind if you make your brush smaller, you're actually making the flex smaller. I actually don't like how that looks. This is the other thing about digital art. There's so much experimentation. We're just going to carefully through here. There we go. That's our first layer of the flex done. We're then going to go to our lighter pink and we're just going to take another pass over it. And what you can see start to happen here is it's creating a glittery effect. I'm just going to go in a bit further and we're going to now add the white. This is really going to make it pop. I'm just going to make the brush a little bit smaller. We're just going to quickly skim over it. Particularly on these edges here where it's still a bit of a darker pink there. We have our glittery line of crystals. At the moment, it looks really messy because we're all along this edge here, it loses the effect. I'm just going to select from the brush library. Maybe the streaks one and just increase the size a bit. I'm just going to go in. The great thing with this is because you're only deleting off this layer, You can go right up and over the white line. It just cleans it all up for you. All the way over. I'm back down again. There we have it. We've now got a nice light crystal vein going running through the top here. I'm going to do the same down this side. This one's got more of a purple tone to it. I want to make sure that the colors I'm picking from a purple, you don't have to, you can totally do a contrast with another color. But I like the background and the color of the sparkles to match. Again, I'm going to start from the second lightest color, my brush. It's already remembered that I was on flakes before. It's remembered my brush size as well, but we were using the smaller flakes for the white ones. I'm just going to up this slightly to about 17 again and we're just going to run this through the vein, then again, then I'm going to get the lighter purple. We're just going to run this through again. See it's starting to pick up that pattern. Then lastly, same as before, the white. I'm going to make it a little bit smaller, around about 10% ten or 11. And we're just going to run this through just to get those darker areas and really lift them up the same as before with the eraser. And the erasers remembered what it was I wanted to take before just going to zoom in and have a little clean up. I went a bit too far. Just undo, there we go, there we go, nice and clean the same on the other side. By managing our layers, we have made this job so easy for us. Because if you can imagine, if this had all been in one layer and we drew on our lines, then we were adding our flex. We couldn't erase them because we would erase everything else with it. This is where layer management in your illustrations becomes so important because you're just able to have so much more control over what it is that you're creating. I highly recommend even if you think you're making a really simple illustration, even if you're just going for something really basic, just do layer management anyway. It just makes your life so much easier, you can find things better. Yeah, it's one of my top top tips there. We have a nice vein of purple crystals running through. We're almost there. It's really starting to take shape. But I do just want to start adding a bit more because as I'm looking at this now, I'm very aware that obviously this area is very light and this area is very light. And then we've got some quite empty open gaps here. I just want to add a little more detail just to balance out the piece and then we can start talking about saving it and exporting it. 11. The Final Details: We're going to start off, I'm going to start with one of my darker colors. We'll start with the darker purple. Obviously, we don't want to be on flakes anymore. We want to go back to calligraphy and then back to mono line. I'm on around about 70% I'm actually going to follow this line through and just give it a bit of weight. There we go again, same as before. We're not looking for absolute precision here, We're just looking to create something that looks nice and flowy, and organic because you've already got a lot of very detailed patterns going on in your background. To add something that was too precise, I think would do your illustration a disservice because we're looking for uniqueness for things that are different. We don't want our illustrations and our art to all be the same. We want things to reflect ourselves. That's why I love doing these kind of illustrations by creating our own individual palette and our own style of drawing and all the different ways we can manipulate the background and change the colors and all of that stuff. It just means that we've created something that no one else has created. Even if all of you following my class all followed these steps, you would all come up with completely different designs. And that's what I love about this kind of exercise. It just gives everyone complete, total creativity and freedom. There we go. What I've done here, I've added two lines, either side of the white line. They're not too heavy. It just adds a little more depth into that. I'm just going to do the same over on the edge of this vein. I'm just going to increase the size a little bit. Yeah, I'll keep the purple color because this was our purple vein. I'm just go around the edge. Just follow this along. Same on this side. Then finally up here I'm just going to do the same again but with my darkest pink. Just select that color, it adds a little extra perfect. I'm really happy with how this is turning out. Feel free at this point to add any other details that you like. You could even go back to your white lines layer. I could even go back here, whack the size back up to 100% and decide to add in another block right here. If there's nothing stopping you from just keep adding to this. I would just say be careful not to overdo it. Now that I've added that there, I quite like it. I'm just going to clean this. I've managed to I should have selected the same brush type, but it's okay. We're just going to go over it here. I'm just going to connect that back up quickly. I think we'll make this one another blue one. I quite like the blue ones. I've got my darkest blue. And we'll start with that, we'll add that to the inside. And then we've got our mid blue. We just about manage that. There we go. And then we'll go to our lightest blue. The lighter blue? Not the lightest, but I'm going to make it a bit thinner and maybe a lest blue in the center. There we go. Feel free to play around with these yourself. Add in your own segments. You can combine colors. I've got some segments here which are a mix of purple and pink. I've got some that are pink and blue. You can really just have a play around and just see what you like about it all and then just keep building on it until you're completely happy. I think I'm done with this one and we're going to move on to the next lesson in this class, which is exporting your design so you can put it up on sites like Red bag. 12. Exporting Your Design: Here we are. We have our finished Geod inspired illustration. I really hope you enjoyed creating that as much as I did. I find so much fun making these patterns and it's just interesting to find different ways to create it every time. What we're going to do in this lesson is we're actually going to export it so that we can upload it somewhere. Hopefully you'll be happy to share this as your class project on the skill share class. That would be so great to see. I'm just going to show you quickly how to do that. As you might remember from our previous lesson, up in the top left, you've got the little wrench symbol and that is our actions menu. And then you have a little share icon here. And then these are all the different ways that we can share this image. The bottom half is where you can share a particular layer. This isn't really helpful to us. We want to share the whole image and we don't want to consolidate our layers. We're actually looking at the share image section at the top here, just to talk you through them really quickly. There's a few different options here. The first one is sharing the image as a procreate file. This is only really handy if you want to send this to someone else who also has procreate. And you want them to be able to open it in their procreate app with all of the layers intact, so that they can start adding to it or changing it or whatever. You've then got PSD, which is the Adobe Photoshop file format. Same thing if you wanted to open this up in Photoshop but and you wanted to keep those layers intact, that's the format you would use. You could export it as a PDF. Then you've got three image formats at the bottom here. Jpeg, PNG, and Tiff. Generally speaking, the one that you're going to want to go with here is Jpeg. Not too large of a file size. If you were to elect PNG, technically you can upload that to sites, but it's a much larger file size. Png is really best used for images where you have a transparent background, which obviously this one doesn't. We have used the entire canvas here. We are going to be exporting this as a Jpeg. We've actually got quite a few options here. We can send it to somebody. We can add it to our itunes. I actually don't know what that does. We can save the image just to our camera role. We can send it to our printer. If we have a wireless printer save to our files, if you Apple icloud drive, that's what that is. Then if you've got other apps installed on your ipad, you can actually save direct to some format. So for example, I've got Wordpress installed on my ipad. And I can save it directly as a draft, as a draft post for a Wordpress blog article. Save it to Pinterest. All these different options. I'm just going to save it to my camera role because then I know where it is and I can just go and grab it when I want to add it as my project. But I'm just going to show you a couple of different ways. I'm going to save image to my camera first successful, then I'm also going to stick it up on my icloud drive because I like to keep a back up of all of my finished designs. Just worst case scenario, if something were to happen, I have them all ready to go there as well. I'm just going to scroll down and I'm going to save it to my files as well. Here it gives me different options of where I want to save. And I've got a little designs folder and procreate. See I've got 219 items in here already and I'm just going to save it in there. Export successful. And that's it, you've exported your design. So now when you go to your red bubble site, or if you wanted to upload this as your class project on skill share, you now know where it's saved and you can just go and upload it straight away. 13. It's Project Time: Now it's time for your class project, taking what we've exported in the previous lesson. You're now going to upload it to the project gallery for this class, which you can do straight from your ipad. Simply navigate to my class in the browser of your ipad and then tap on the Projects and resources tab at the bottom of the page. Then submit project. And from there, you can upload your design and add it to the gallery instantly. Alternatively, if you prefer, you can of course, move your design onto your computer and add it to the gallery from there. Instead, I cannot wait to see what you have drawn and thank you so much for taking this class. 14. Final Thoughts: Well done and thank you so much for taking my class. Congratulations for making it all the way through to the end and submitting your class project. I had so much fun putting this class together and I really hope you had just as much enjoyment taking the class and creating your Ed inspired illustration. Over the course of this class, we have covered everything from creating your color palette, adding in the details and manipulating the background right the way through to exporting your design and adding it onto sites like Red Bubble and society. Six, if you enjoyed this class, I would really appreciate a review from you guys. Please consider following my teacher profile and leaving a review If there's any content or techniques or anything that you would love to see in a class in the future, please let me know by either sending me a message on social media or leaving a comment in the discussions tab of this class. Thank you again and have a wonderful day.