Draw Floral Animal Silhouettes in Procreate

1. Let's Go!: Hello, my name is Cat Coquillette and today, you're going to learn how to draw a gorgeous animal silhouette filled with floral embellishments. You're going to do all of this on your iPad using the drawing app, Procreate. By the end of this class, you're going to have a unique animal silhouette illustration with a beautiful floral fill that you've customized to be entirely your own. Plus, you'll learn how to create color alterations and glittery embellishments to wind up with a full color collection out of one single illustration. This class is all about enjoying the process of creative brainstorming, sketching, using reference photos to trace, and making smooth and meditative brushstrokes all while learning the fundamentals of Procreate. This is a beginner friendly class so even if you've never used Procreate before, you'll be able to follow along just fine and create a gorgeous illustration. After all, what better way to learn than by doing? If you're already a Procreate pro, you're going to get my best tips for creating professional illustrations. If you're already familiar with my classes, you probably know that I'm an open book. So I'll be sharing insider tips and resources that I personally use when I illustrate. Just like all my other Procreate classes, I am packing this one with tons of free stuff. You'll get eight custom color palettes that I designed specifically for this class. They're already made into Procreate swatches, so you'll be able to open them up right in Procreate. Plus, I've custom-designed my very own Procreate brush that is perfect for this type of illustration style. I built this brush specifically for the types of outlining that we'll be doing today. Last but not least, I have scanned in some metallic glitter and turned it into a digital file so you can insert it right into your illustration to create some depth and elegance. Don't worry, I will be showing you exactly how to use all of these freebies in your artwork today. One thing I hear a lot from my students is they're not quite sure where to start when it comes to drawing. I hear you and I have totally been there. One thing that has massively helped my creative block is using reference photos to give me a head start with my drawings and paintings. I really got into the strategy of reference photos back in 2016 when I left the United States and began traveling the world full-time. I'd photograph just about every cool thing that I would see and then I would use those photos later when it was time for me to decide what to draw or what to paint. A huge part of my art portfolio is actually snapshots of my travels throughout the years. Ferns and foliage from hiking in Vietnam. Wild orchids in Thailand. Blooming hibiscus flowers and cute geckos in Bali. Geometric patterns from textile markets and Azerbaijan, and so much more. But you don't have to travel to the other side of the world just to get creative inspiration. I love museums and when 2020 struck, I realized that I also loved virtually touring museums as well. Guess what? Museums are absolutely packed with artistic inspiration. Today, you're going to learn where to find incredible reference photos to not only inspire your artwork, but to literally help you out with tracing and drawing as well. Proportions on animals can be tough, but by combining several different reference photos together, you can trace around and create your own custom animal silhouette. This is exactly what we'll be doing today with both our animals and our flower embellishments. Trust me, it is super simple. You don't have to be an expert illustrator to create a gorgeous professional level illustration. By the end of this class, you're going to have a really cool floral animal illustration and some newly acquired Procreate skills. The vibe of this class is fun and casual, so whether you're a newbie to Procreate and just wanted to explore your creativity, or you're interested in illustrating on a professional level, you are going to get some deep value-bombs out of this class. If you're interested in some more freebies, or you want to know when my next class launches, you'll be the first to know if you follow me on Skillshare. I send out a lot of perks to my followers, including Skillshare membership giveaways and advice for artists. Just click that "Follow" button up top and you'll be the first to know. You can also follow me on Instagram @catcoq to see more updates and see where in the world I'm living at the moment and where I'm headed to next. Without further ado, let's get started creating some elegant and modern floral animal silhouettes. 2. Supplies: The supplies you'll need today are pretty simple. You'll need an iPad and the drawing app Procreate. I'm also using an Apple Pencil, but if you don't have a stylus, you can just use your finger. Tech stuff covered. I know that was very heavy, but I'm glad you made it through. In my usual fashion, I am packing this class with loads of free stuff just for you. These freebies are totally optional in this class. Think of them like an extra park. You're welcome to download these freebie assets to use today, or you can follow up and complete your class project using your own favorite Procreate brushes and color palettes. It's entirely up to you. Either way, you're going to wind up with a gorgeous class project. First up, I created in my very own Procreate brush, specifically for this type of illustration style and I'm giving it away to you for free. I had used a lot of Procreate brushes over the years. My brush library is insane, so it was due time for me to finally create my own brush that is perfectly curated for this exact type of illustration style,where I want a really smooth, fluid outlines. I also designed eight custom color palettes just for this class. All of the color palettes are based off of trending color ways and color palettes that are selling really well for me in my portfolio right now. I made these color palettes ready as Procreate swatches. You can import them right into Procreate and they'll auto populate in your color palette library. These swatches will only open and Procreate, nothing else. They won't even preview on your web browser. The only way to access the swatches is when you import them into Procreate and find them in your color palette library. Because of that limitation, I also created a JPEG that has all eight of those color palettes on the same page. JPEGs are essentially a universal file types. If you want to open up the JPEG in Photoshop or use it in Illustrator, or use it for any other future artwork today and in the future, that JPEG is a great reference and you are free to do so. Last but not least, I have a high-resolution, high-quality, metallic glitter texture all prepped for you as well. Later in this class, I'll show you exactly how you can infuse these glittery accents right into your final illustration. It's a lot of fun and can really elevate your artwork to the next level and the best parts, all of these freebies are literally free. They are royalty free and for commercial use. You can use them in your artwork today plus any other future artwork you create without having to pay me royalties, give me attribution, anything like that. They are yours to use as you wish. This is my gift to you and all in the spirit of artists helping other artists, because we're all here to help each other rise. Here's how to access all of these freebies. Go to catcoq.com/floral. This is where you can access all of the freebies. I'm also providing a direct link down below in the class description. Catcoq.com/floral, that's singular and typing your email address to unlock the freebies. This will also add you to my email list, which means you'll get my weekly newsletters, but you're welcome to unsubscribe at anytime. Anyway, once you hit that unlock button, it will automatically redirect you to a Dropbox folder that contains all of the freebies. You do not need a Dropbox account to access any of these files. If you've taken any of my other Procreate classes and you already know how to import these files into your iPad, you can go ahead and skip forward to the next lesson, which is choosing a motif. But if you're not sure how to get these assets onto your iPad, no worries. I'm going to walk you through every step of the way. Again, if you already know how to get all the free stuff onto your iPad and Procreate, go ahead and skip forward to that next lesson right now. If you're still here, now I'm going to walk you through how to get these freebies onto your iPad and into Procreate so you can use them for our class today. I'm going to walk you through two methods for getting the class assets onto your iPad and into Procreate. The first method is if you're opening up these freebies on your Mac computer, which is what I usually do. The second method is if you're opening up these freebies from your browser right here on your iPad. Let's do Mac to iPad first, because this is the fastest and easiest. If you're watching this class on your Mac computer and following along on Procreate on your iPad, then the best method for getting the freebies onto your iPad is going to be just simply airdropping them. Airdrop is a file-sharing feature that's specifically for Apple products. This will only work if you're going from Mac to iPad. If that's the case, open the Dropbox link on your Mac and just hit download. Remember, you don't need a Dropbox account to do this. If you get a prompt to sign up for Dropbox, just ignore it. Everything will download as a zip file. Find your downloads folder, click that zip and unlock it. Now, you can go through each folder and send these files to your iPad. It's super easy if you have a Mac because you can just select all your swatches and airdrop them to your iPad at once. Swatch files are super smart and they know where they belong. When they arrive to your iPad, you'll get a prompt to open them in Procreate. They'll all automatically load right into your palettes. When I import swatches, they usually show up at the very bottom of my Palettes folder or at the very top. We'll get into that later in this class. Once you've got your swatches imported, you can go back to your folder on your Mac and then airdrop that glitter metallic texture to your iPad as well. That one is going to go directly into your photo library, not Procreate. I'll show you how to bring it into your Canvas later on in this class. Finally, you can select my outline brush and airdrop that to your iPad too. Just like the swatches, that brush is going to automatically import into Procreate. Whenever you import brushes, they usually show up in the imported folder at the very bottom of your brush library. But just like the pallets, every once in awhile, you might find that import at the very top of your library as well. Maybe check both places. Again, we're going to get into both of those later when we actually open up Procreate. The other method for getting all of these freebie assets from Dropbox and onto your iPad is if you do it all within your iPad itself. Enter your email, hit "Unlock", and then open that Dropbox folder right on your iPad. You can click through each folder and download all of these assets. First I'll tap the folder called Procreate Swatches, and then tap that Download button up top to download them all at once. Confirm the download, which might take a sec, and then tap that Download icon at the top of your browser. You can click the magnifying glass and then it'll open into your downloads folder. Then you can tap the Zip to unlock it. This will automatically import the swatch directly into Procreate for you. All new imports will either be at the very top of your swatches palette or at the very bottom. It just depends on your iPad. Don't worry, you'll learn how to access these palettes and use them a little bit later in this class. The important thing for right now is just importing them into Procreate so they're ready for you to use later. Remember that JPEG is there for you in case you want to access those swatches outside of Procreate, but I won't be using it today. Once you have all of your swatches imported, you can go back to that Dropbox folder and grab your other freebies. Tap that Folder icon at the top to go back to your Floral Animal Silhouettes class assets and then tap the metallic texture, tap Download again, and then confirm the download. Once your load bar finishes, you can tap the icon to open your downloads folder, select your metallic texture. Save the image. That's going to save that metallic texture right into your iPad's camera roll. You can find it by opening up photos. It'll be the most recent image in your gallery. I'll show you how to bring that into Procreate later on in this class. Last but not least, I'll go back to Dropbox and Safari. Go back to my Floral Animal Silhouettes assets folder, tap, Procreate brush, tap Download and confirm. Once that download is complete, I'll tap the downloads folder on my upper menu bar, tap the brush name, and it will automatically import into Procreate. Whenever you add a new brush in Procreate, it'll appear in the imported folder. Mine's at the very bottom of my brush library, but sometimes it shows up at the very top. Again, we will get into this more when we actually open up Procreate for this class. Now that you have all of your freebies imported into your iPad and ready to go, let's dive right into choosing your subject matter for today's illustration. 3. Choosing A Motif: [MUSIC] In this class, if the class title didn't already give it away, we're going to be drawing animals silhouettes with floral embellishments. This is a style that I've been incorporating into my portfolio recently, and it's been a huge success with both art licensing, and print on-demand. Plus, it's just super cool to pick your favorite animal, and then turn it into this customized, gorgeous art work. Whether you're following along just for fun to create a cool illustration, or you want to use these skills professionally, you are in the right place. A bit of background: I created my first animal floral silhouette illustration last year. This is it right here. It's my porcelain floral kitty cat. The inspiration actually came while I was visiting a porcelain museum in Limoges, France. I was there in France hosting my annual watercolor retreat. And I took my guests to this museum for a little bit of creative inspiration. One thing I recommended that all of my students do, were photograph the pieces they saw in that museum that really spoke to them as artistic inspiration. Museums are fabulous destinations for getting creatively recharged, and finding reference photos. When it comes to drawing, I love using reference photos to assist me. What I mean by reference photos is imagery that you can look at that can help you decide and figure out what to draw or paint. I do this all the time, whether it's painting watercolor flowers, or insects, or architecture, or anything else. I love having that photo reference to assist me as I create. I use my imagination for sure, but reference photos really help me at that starting point. That is exactly how we're going to start today. You'll learn exactly where I find reference photos, and then how I use them as starting points for my initial sketch. Even if you're not super confident with your drawing skills, you can literally use these reference photos to trace and refine as you go. I do this all the time. For our class project, you'll need two different types of reference photos: Images of your animal, and images of your flowers. Of course, you're completely welcome to draw freehand from your imagination. That is totally fine. But, if you want to use reference photos like me, I'm going to walk you through the exact steps I take. Let's start with our animal. Here's a sneak peek. I will be drawing an elephant today. Why? Because they sell well, and they're always on trend. Plus I'm in Thailand right now, and elephants are the national animal. You're welcome to follow along, and draw an elephant like me or you can follow along with your own animal. I've done this exact same floral illustration style on a bunny, a cat, and a dog. Maybe you want to illustrate a turtle, or an alpaca, or a dinosaur. Be creative, and choose an animal that really resonates with you. Pro tip here: choose an animal that is iconic enough to be recognized as a silhouette. Then consider the best position of an animal. An elephant face-on might not be as recognizable as a silhouette, but an elephant from this side definitely is. When it comes to animal reference photos, I like unsplash.com. Unsplash is a stock photography website with a lot of commercial free images available. I'll search "elephant", scroll through, and then I'm going to screenshot a few different reference photos. Later, we'll collage these together so that your sketch isn't based off of just one photo. It's a medley of a few different photographs. That way, the final sketch you come up with is going to be proprietary to you, not just one single photographer. I'm just going to go through, screenshot a few different elephants where I think they could be a really nice silhouette. Honestly, I think these two will be perfect. Once you've got a few screenshots of your animal, it's time to do the same thing for the flowers that are going to fill in that silhouette. Going back to that museum in France, one of the reasons that I encouraged my students on that trip to photograph the pottery there is because it's really, really old. Most of the porcelain was 17th and 18th century French styles, which is fabulous when it comes to copyright. By using very old imagery as reference, you can avoid potential copyright issues. These pieces are hundreds of years old, and therefore in the Public Domain, which means you are in the clear, and can get inspired without worrying about copyright violation. Back in that museum, I was photographing all sorts of gorgeous pottery. And later, I used some of these photos as references to create brand new, original artwork. The coolest part was there was this art history significance behind each design that I made. The key here is that I'm using old inspiration, but infusing my own unique artistic voice into my illustration to make it distinctly my own. And that is what you're going to learn today. First things first, here's where I go to find public-domain, copyright-free, old art history reference photos that you can use to guide you in your own artwork. Museums are great for this, but you can get a lot of great images online as well. The Wikimedia Commons, not Wikipedia, but Wikimedia Commons. I'm providing a link to this down below. Essentially it's commons.wikimedia.org. I'm going to search "french porcelain", and see what we've got here. Under "License", I'm going to go with "No Restrictions". That's going to be all that old stuff that's Public Domain, and doesn't have copyright associated with it. Not in every case, but in most cases. The thing you always want to check is the dates of the artwork that you're looking at. I'm just going to scroll through, and look for a piece that I might like to incorporate into my own artwork. Something with some really nice French-inspired florals. Here's one right here– with a really fabulous plate. I'm going to tap "More Details". And this is exactly where I'm going to see the date in which this plate was created: 1767. More than enough buffer room to avoid any copyright infringement. As a general rule of thumb, I'm looking for artwork that is at least a couple of hundred years old. That way, I'm giving a wide berth between any potential copyright issues. 1767? That is in my safe zone. So I'll go ahead, zoom in, and screenshot the florals on this plate. I'll use them later in my illustration as a sketching reference. Then later, on I'll bring these screenshots into Procreate to trace over. Pro tip: Save the link for your art inspiration that you're finding. That way, you can have all that info for your inspiration florals when you share on social media. It makes a pretty cool story when you get to share the inspiration behind the artwork that you've created. This is great content when you share on social media. At this point, I've got a few screenshots of elephant reference photos, plus a few screenshots of this French porcelain that I'll be using to inspire the flowers that I'll be drawing. After you have all of your screenshots saved onto your iPad, or if you took them on your computer, Airdrop them to your iPad. They'll appear in your Camera Roll. We'll be pulling those up later when we start sketching in the next video. Next up, let's take those reference photos right into Procreate, and start our sketch. 4. Sketch the Animal: [MUSIC] Now that we have everything downloaded. 5. Fill the Silhouette: [MUSIC] Let's go ahead and finalize our animal silhouette. We'll use our sketch as a starting point to outline and fill in the shapes. Then, we'll use our eraser to define the negative space and give our animal some more recognition and elegance. I'll start right here on the exact same Canvas. The first thing I'll do is open up my Layers palette and clean this up a little bit. We no longer need these reference photos. We're totally finished with them. I'm going to go ahead, swipe left, and delete them both. That way our Layers palette is nice and clean. Now, I'm going to go ahead and crop my Canvas so it's as large as possible. Now, we're getting to the point where the Canvas size will start to matter. Because Procreate is a raster-based program, what that means is however large you draw your original piece, will be as big as you can print it out. Let's just say you work on a really small Canvas. Maybe it's 4 by 6 inches, so about the size of a postcard. If you want to print that illustration later, you can only print it at that same size, four by six, the size of a postcard. If you print it any larger than that, it's going to get really pixelated and blurry. Because of that, it's in our benefit to work on the largest possible Canvas size we can so that we have more options with how we print it out. That means that if you draw your original on a much larger Canvas, like let's say 20 inches by 20 inches, that means you can print it out at that exact same size and it'll look perfect. The larger the Canvas is that you work on, the more options you'll have when you decide to print it out. For me, because I sell my artwork through print-on-demand websites that turn my artwork into different products like tapestries or bedding, or furniture, or pillows, working on a large Canvas size really matters because it means I can enable more products. Now that we're finished with our sketch, we're going to start drawing our final illustration, let's go ahead and work on a larger canvas. I'm going to go up here to my wrench, and then tap Canvas, Crop, and Resize. What I want to do is pull this canvas out to get it as large as possible. At some point, you're going to hit a limit where Procreate doesn't let you enlarge that canvas anymore. Go ahead, get it as large as you can, and then press "Done." Cool. Now, we have our little tiny animal on a giant canvas. Let's go ahead and scale this guy up to fit. I'll go back to my Layers, my original sketch layer is selected, I'll hit my Arrow tool. And I'll bring this up. Real quick here, as I scale this up, it's scaling in proportion to my original drawing. If yours isn't, that means that Freeform is selected and now it's scaling like this. You don't want that, you want it to be in proportion. So make sure Uniform is selected right here. Cool. What I want to do is scale up this elephant to be as large as possible without cropping off the sides. I'll go ahead and press the Arrow to set the transformation. But I've still got some negative space up here, so I'm going to go ahead and readjust that crop. I'll go back to my wrench. Crop And Resize. And pull it out just a little bit more. I think that'll do it, I'll press "Done". Go back to my Layers. Make sure my sketch is selected. Hit the Arrow, and bring it up as much as I can. Cool. Hit that arrow to set the transformation. Now, what I've done is I've made the largest possible canvas for this shape of my animal. If you're doing a vertical animal like maybe a cat that's sitting down, then your canvas is probably vertical. Mine is horizontal because it's a sideways elephant. Just to make sure you're working on the largest possible canvas size for your animal, and there's not a ton of room on the sides. That way, whatever we draw will be as large as possible. Later on, I'll show you how you can reposition your animal on different canvases so that it has more breathing room on the sides and looks a little bit more professional. But for now, we want to make sure that our illustration is as large as possible and takes up that entire canvas. If you're curious about the size, I'll go back to my Wrench, Crop, and Resize, and go to Settings, it'll show you exactly how large your canvas is. Mine is 35.5 inches by about 21 inches, 300 DPI. Your numbers here are probably going to be different depending on how you cropped it. Something I want to point out here: Procreate actually limits how big your canvas can be and how many layers you can use based on your model of iPad. If you're not able to get as large as mine is right here, maybe you're stuck somewhere around 10 by 15, that's just because you're working with maybe an older iPad or a non-Pro. No worries- just something I wanted to point out. I'm going to go ahead and press "Done", and here is my full-size canvas. What I'm going to do is go over here to my Layers, click this Plus sign to add a new layer, and then click it and drag it underneath my sketch. Now, I'll tap my Sketch Layer, tap that "N", and I'm going to bring that opacity down to about 50 percent as well. Go ahead and select that layer underneath your sketch. This will be the layer where we draw our silhouette. Next up, I'm going to go over here to my Color Palette. And the exact color doesn't really matter at this point. We just want to select a color that has a nice contrast against that background, and against the red of the sketch. Maybe I'll choose a really dark blue, I think that'll pop up pretty well. We'll be modifying our color later, but for now, the important thing is whatever color you choose, contrast the background and your sketch so you can see what you're doing. Next, I'll go over to my Brushes and I'm going to go up to Outline Inker, which is that brush that I created and I'm giving away to you for free. Remember, we already imported this, so it'll show up somewhere in your Brush Library. It will either show up right here at the very top or down here at the bottom under Imported. But mine is right up here. I created this Outline Inker brush specifically for this exact style of illustration. It's got these nice tapered tips, which means I can get to a fine point and have a lot of precision as I draw. Plus, it's very stabilized, so you're going to get these really smooth brushstrokes even if you have a little bit of a shaky hand. It'll automatically smooth out any sort of jitters. This brush is also perfectly circular. When you draw these big swooping curves, they'll feel really full and you're not going to get any flat edges. You can also vary your pressure to get very thin strokes or very heavy strokes. It's nice to alternate that as you draw. Those thicks and thins will come more in handy when we're illustrating those floral embellishments. When I was building this brush in Procreate, I made it perfect for these types of illustrations that rely on a lot of really beautiful outline work. Let's get started with our silhouette. I'm going to bring my brush size down a little bit and start filling this out. I'm just going through and outlining over my sketch with my Outline Inker brush. [MUSIC] Again, real quick, double-check that you are on that new blank layer. You are not illustrating on the sketch itself. You're illustrating on its own individual layer. That way, we can delete that sketch when we're finished. I'm going to keep going. [MUSIC] It can be helpful if you rotate your canvas around as you go, so that it feels a little bit more intuitive as you begin to fill it in. For this part, I'm not going to be worrying about any of these details. I just want to get that basic outline silhouette completed. Last but not least, the tail. I have my full outline completed. Now, you can grab your color from the top right, drag it in, and fill in your shape. Something I want to point out here: If your entire canvas just filled in with color, there's one of two things that happened, so I'll show you both. I'll go ahead and Undo. It's really important when you have shapes to fill in that they're connected all the way. If you have a shape and it's not quite connected, there's a little bit of a gap, and you try to fill that shape in, the entire board is going to fill with that color. Two fingers to undo, but if you go ahead, make sure that it's connected and then fill it in, it will contain the entire shape, which is perfect. Go ahead and double-check on your animal that all of those shapes are filled in entirely. There's no gaps. Sometimes that just takes a second eye going through and looking and making sure it's filled in all the way. And if there are any gaps, you can go ahead and close them. The other reason that sometimes that canvas fills in entirely is a Color Threshold issue. I'll show you what I mean. I'll show you what Color Threshold looks like. I'm going to come over here and drop in the color. Before I release my pen from the screen, I'm going to keep it touching, and then take a look up here at this Color Drop Threshold. You can be down here from 0% up to 100 percent, depending on if your pen is swiped left or swiped right on the screen. Obviously, 100% isn't great because it fills in the entire screen, but you don't want to go too low either. Like if my threshold is all the way down like one or two percent, I'll zoom in and show you. You get this odd halo coming through on your fill. We don't want that. We want it to fill in entirely. Two fingers. Instead, I'm going to grab this Color Fill, and before I release my pen, I want to really take note of this Color Threshold and get it as close to 100% as possible without filling in the entire canvas. In this case, it looks like 99.6% did the trick. Now, if I zoom in, I'm no longer getting that weird halo. It's filling in entirely, so that's perfect. I'll go ahead and finish filling in these other areas within my illustration. Perfect. Now, I have my entire silhouette filled in and ready to go. Let's go ahead and check it out. I'll go back here to my Layers, turn off the visibility of that sketch layer and zoom out a little bit and just take a look at this elephant and see if there's anything I'd like to change. One thing I'm noticing is this trunk is falling a little flat over here to the right, so I think I'm going to go ahead and thicken it up a little bit. I have that same brush selected, I'm just going to go through and smooth this out a bit so that it feels a little more full and less squished. Excellent, I think that looks a lot better. What I'm doing is I'm just going through, checking things out, seeing if any areas need to be smoothed over a little bit and thickened up. Similarly, you can also erase parts as well. If you press and hold on your eraser, it's going to erase with the current brush. Here I'll do it again. Perfect. That means that as you erase, it's going to be erasing with that exact same Outline Inker to stay consistent. So two fingers to undo, go back to my Eraser. And now if you want to go through, maybe make his tummy a little bit less chunky, you can do things like that with the eraser as well. Don't forget, you can adjust the size over here. This is the time to just go through, make these subtle little refinements, and make sure that silhouette is exactly the way you'd like it to be. Perfect. I think this is looking pretty nice. Now, it's time to define your silhouette even further through the use of negative space. 6. Negative Space: Now it's time to define your silhouette even further through the use of negative space. This is a technique that will help your silhouette feel more refined and recognizable as the animal that you're illustrating. We're not going to be drawing anything into our Canvas, we'll actually be using the eraser to erase areas out. So, I'll show you how. First, I'm going to go back to my Layers, toggle back on the visibility of that sketch. That way, you can see it coming through like this. Then I'm going to go back to my Eraser. Remember, it's on Outline Inker. And I might adjust the brush size a little bit and play around and see a good size that works. The first thing that I want to define here with negative space is going to be this elephant's ear. Right now, when the sketch is off, you can't even really tell there's an ear there at all. And this is why negative space is going to fix that for us. I'll put my sketch back on, then make sure that my silhouette layer is selected. Then with my eraser as Outline Inker, I'm going to go ahead and go through and draw out that ear. First, I'll test the size. I think I want something a little thicker. So two fingers, I'll bring my brush size up just a little bit, and this is where you can really start paying attention to those thicks and thins. As you draw heavily with your brush, it makes a thicker line, and if you draw it nice and thin, the line is quite a bit thinner. I'll be incorporating that as I draw out the ear. Let's see, maybe the ear comes down and I go light then a little bit thicker. Like that, right off the animal. That's looking pretty nice and it feels more like an elephant's ear. I can even come through and smooth out this edge a little bit to give it a little bit more roundness within that ear. Perfect. That is negative space. I didn't draw this. I actually erased it out of that existing silhouette. I'm going to go through and find some more areas where it makes sense to include this whitespace. Maybe it's there on the leg. Note that I started out pretty thin and then I got thicker as I drew down. Maybe it'll be the same thing here. Now, I've really defined that back leg from the front leg as well. Maybe I'll do the same thing here with this hind leg of the elephant. And I'll do the same thing here with the back of his leg and that back leg coming through. In cases like this, I'm just going to go ahead and erase out that extra little sliver. Excellent. I'll zoom out, go back to my Layers, toggle off the visibility of that sketch. Yeah, I think that whitespace made a huge difference. Before, that elephant was a little bit blobby. But now, using that negative space technique, we've really defined these key areas to help identify our silhouette and make it more recognizable as the animal that it represents. Now that our silhouette is perfected, it's time for the fun part, which is filling it in with these floral embellishments. 7. Sketch the Flowers: [MUSIC] Now, it's time to start sketching in that floral fill for your animal silhouette. Make sure that you have your floral reference photos ready to go. Mine are already screenshotted and imported right into my iPad. I'm going to start with my canvas by making a duplicate. I'll go up here to Gallery, hit "Select", select that canvas, and hit "Duplicate". Now hit that X. Now what I want to do is group them together into a Stack. Select, grab both of my elephants, and hit "Stack". Hit that X again. And now when I open up that Stack, which is just a grouping, I have both of my canvases here as duplicates. I'm going to go ahead, tap where it says "Untitled Artwork" and name this first one "Silhouette". And this will just help me stay a little bit more organized. This next one I'm going to call "Floral Sketch" because that is exactly what we're about to do. Why did I just duplicate this canvas and put it in a little Stack grouping like this? Because I am all about non-destructive editing techniques. Procreate limits the amount of layers you are able to use on a canvas, so my workaround for this is to duplicate my canvas at pivotal stages in my illustration. Think of it as a "Save As" to save my progress as I go. That way, if I ever want to go back to a previous illustration and make some modifications, that work is saved for me. It's not deleted or erased over. I can always go back to a previous canvas. You'll begin to see more of how this works as we progress with our illustration, but for now, just think of it as a contingency plan. We have our "Silhouette" canvas saved, we're just going to leave that exactly as is and not touch it. Instead, we're going to open up our "Floral Sketch" canvas. This is going to be the canvas where we start outlining those floral embellishments. But before we get to the florals, let's go ahead and illustrate in the face and any other embellishments that you want to have in your animal that's not flowers. This could be things like eyes and nose, mouth, whiskers, a collar, maybe a ribbon and a bow, a saddle if you're doing something like a horse or an alpaca. Really, just anything you'd like to include in your animal besides just those floral embellishments. The reason we're starting with these first is because that way we have these crucial things put in like the eyes or nose or a mouth before we start putting the flowers around it. And that way, as we trace our flowers, we make sure to give room to those crucial elements. I'm going to be keeping mine pretty simple. I want those flowers to really be the hero of the show here. For my elephant, I think the only embellishment I'm going to do is a little eye right here. To do that, I'm going to come up over here to my Layers and delete my sketch layer. I can swipe left and then hit "Delete". I no longer need that layer. Plus, I still have that sketch preserved on that earlier canvas. Now, I'll hit the plus sign to open a new layer. Now, I'm going to go to my brush and go back to that sketching folder and select Peppermint. Now, I'll go to my color palettes and that red is already here in my history, so I can go ahead and select it. Let's just double-check on our layers that we're on a new blank layer. We're not drawing on a silhouette layer. We're on that blank one right here. I'm just going to see what it looks like if I draw a little eye in here. Maybe with some eyelashes. That actually looks pretty cute. I'll go ahead and try one more just to see what two options look like. Back to my Layers, I'll go ahead and hide that closed eye. Start a new layer. Let's see what it looks like if I have an open eye instead. That's interesting too, but I think honestly, I prefer that closed eye. It looks a little bit more peaceful and I think that fits the ambiance of an elephant anyway. Delete that open eye. I'll stick with that closed eye, and that'll be the one I move forward with. All I've done is simply sketched it in for now. We'll go ahead and outline this later, but the important thing is I have the placement established, so as I begin drawing florals around it, I make sure that I'm not going over that actual eye. If there's any other things you want to add in, like maybe a saddle, if you have some pack animal, you can draw those things in now too. Toe beans, toenails, things like that can also be nice. But again, for me, I want to keep it really simple and just have the eyeball there, everything else I'm going to leave for floral embellishments. But for your illustration, you do you. Now it's time for the fun part. It's going to be bringing in those floral reference photos and tracing around them and really getting that sketch of florals finalized on our silhouette. When it comes to filling your animal with florals, it's best to work from large to small. So you'll want to do your largest florals in the space where you have the most real estate in your silhouette, and then work to the medium place, and then the slightly less big, and then you get to those detail shapes. The reason we do it this way is because that helps you fit in those florals like a puzzle. By starting with the biggest pieces, you can then use smaller florals to fill in the gaps as you go. Pro tip here: the larger and simpler your florals are, the quicker your illustration is going to go. The more detailed and intricate you make your flowers, the longer the illustration will take. If you want to have a very speedy, fast illustration, keep it pretty bold and simple. But if you don't mind spending a little bit more time, then feel free to get really intricate with these flowers. This Flower Power Bunny illustration I did took me about an hour to complete. And then this much more intricate dog illustration took me about double that. Feel free to make yours as detailed or as simple as you'd like to. There's no wrong or right answer here. Both aesthetics look pretty cool. I think I'll do a middle ground with my elephant, not too simple, not too intricate, something that feels like a nice balance between the middle. Like I mentioned, I'm going to start with the largest area. So for my elephant silhouette, it's going to be this section right here. I've already screenshotted my floral reference photos and sent them to my iPad, so I'm going to go ahead and pull in those photos. Just like before, I'll hit the wrench, under Add, I'm going to swipe left on Insert a Photo. And insert a Private Photo. And I'm going to start with this screenshot right here, these really beautiful flowers from the vase. Pull that on up and go to my Layers, hit that "N", and bring down the opacity so I can see how it sets against the silhouette. Then, with my arrow tool, I can go through and reposition it how I'd like it to be. The one I'm going to focus on right now is this big hero flower right in the middle. That will be the first one I sketch. Let me reposition that into a nice place. That looks awesome. We'll go ahead and hit the arrow tool to set that transformation. Something I want to point out here real quick. Anytime you have an element that gets cropped off the canvas, that is gone for good. If you want to bring that back in, you can see the top of that reference photo has been deleted permanently. That's just something in Procreate to keep in mind. Anytime you draw off the side of your canvas or bring an element like this off, it's going to be cropped and deleted for good. Just keep that in mind as you go so that you don't accidentally erase something that you might want to bring back later. I have my reference photo placed. I'm going to go back here to my Layers. And I can actually work on that same layer as the eyeball that I have right over here, since this is just a sketch layer itself. I'll click that layer, select it, and make sure that I'm on my Peppermint sketching pencil. And I'm just going to go through and start filling this in. These reference photos are a suggestion only. You don't need to trace exactly what's in the photo. And I definitely encourage you to think a little bit outside the box and make this illustration work for you. I'm using it as a general guide, but it's certainly not going to be a photo duplicate replica of that original illustration. Feel free to add in your own embellishments, own touches, and really make this uniquely yours. It's also okay to draw off the side of your silhouette, no problem there. Later on we're going to go ahead and make sure that all of our florals are contained within the silhouette. But for now it's fine to have things go off the edge. Just like when you sketched in your animal, you don't need to draw every single detail. You can just draw a few things to get the general idea. We'll be refining it when we do our actual outline later, so just get the gist of that floral. But you don't need to do every single vein and petal like this. That's just simply not necessary for now. We just want to get those basic shapes. I can go over here to my Layers. Turn off the visibility of that reference photo. And see how that flower looks on my elephant. I think that's looking pretty good. What I'll do is turn my reference photo back on, select it, go to my Transform, and maybe use some other parts of it as well. Remember, you can always go down here and flip it around horizontally. Now, I'll play with the placement a little bit. What I'm doing is working on this one right here. That looks good. I'll press the arrow to set the transformation. Go back to my Layers, make sure I'm on my sketch layer, and I'll fill in this part as well. As you can see, that reference photo is just a very general guide for me. I'm not duplicating it stroke for stroke. I'm just using it as a very general idea for how I want my flower to be positioned. Cool, same thing. I'll turn off my reference photo. See how that's looking– pretty good. Maybe I'll do one more right here. I'll turn it back on. Select it, go to my Transform, and find a nice little snug spot for it, maybe right there. Go back to my Layers, make sure I'm on my sketch layer, and start tracing. [MUSIC] Again, you can make this up as you go and come up with your own embellishments within your flowers. Cool, so now that I'm done with this largest area, I can go ahead and erase my reference photo. I'll go back to my Layers, swipe left on that reference photo, and hit "Delete". Now I can see my nice floral fill beginning to take place within my animal silhouette. Now that we have those hero flowers completed in the largest part of our silhouette, let's go ahead and add some additional embellishments there. One thing I think would look really nice for these is to have some leaves and more foliage around them. I'm just going to go through, and free hand it as I go. Maybe there's a leaf coming down from up here and I'm just making this up and drawing it. Note here that I'm drawing the full leaf, even though it's coming off the side of the elephant a little bit. The reason I'm doing that is because later on, I might want to pull this leaf out and use it as some side embellishment once I finalize my illustration, like I did here with this cat and dog illustration. Even though only this part of the leaf is going to show in my finished elephant, I'll still have the entire piece to work with and rearrange later on as I'm filling in the background if I decide to go that path. Maybe I'll add a few more leaves in here as well. [MUSIC] Cool, I think that's looking pretty nice. I'll go ahead and stop the leaves for now. I might add some more in later, but for now, let's go ahead and move on to the second largest area and bring in another photo reference. The next area I'm going to address is going to be this front leg right here since I have some great real estate to work with. I'll go up here to my wrench, swipe left, insert a Private Photo, and I'm going to choose this one right here. It's a screenshot I took of that floral plate. I'll enlarge it. Go to my Layers, tap that "N", and bring it to about 50%. Now, with my arrow tool, I can go through and look for a nice placement. I think this placement actually looks really nice. We can get this little grouping of florals and even have a few bouncing off from the top up here. I'll click the arrow to set the transformation. Go back to my Layers, make sure my sketch layer is selected. Actually, at this point, I can go ahead and bring it to the top of the stack, so it becomes a little bit brighter. Now I'll make sure I have my Peppermint pen selected, and I'll start filling this in. Again, very loose and gestural. I'm just getting the basic form of these shapes down. [MUSIC] Cool. I'll go back to my Layers. I'm going to hide the visibility of this photo reference and see if there's anything else I'd like to add in here. Maybe some more leaves coming off. Maybe a few more down here as well. Perfect. It's really starting to come together. In fact, I'll show you a speedy little work-around that I do sometimes. We just finished this area on this leg. Rather than redrawing this somewhere else, we can go ahead and copy this and paste it in another part of the illustration. I do this all the time just to save myself a few extra steps. I'm going to go over here to my selection tool. It's this S that looks like a ribbon. I have "Freehand" selected. I can go through, select those florals, and then with three fingers swipe down on my screen and select "Copy". Now, again with three fingers, swipe down I can select "Paste." Now, what that's done is it's created an exact copy of those flowers I just created. Now, I can bring them to another part of my Canvas and find another suitable placement for them. I don't have to re-draw everything. One trick when you do something like this: Go ahead and flip it so that it looks distinctly different from that original. Sometimes, it can help to rotate it as well, so it's in a slightly different orientation and it doesn't look like a direct copy. This actually works out really well because it fits in pretty perfectly on this back leg right here. I'll go ahead and press my arrow to set the transformation. Just like that, I have saved myself an additional step and gone ahead and filled out a little bit more of this elephant. Real quick– I'm going to my Layers and I have my original sketch layer here and then that copy duplicate that I made. I can go ahead, pinch both of those together so that now all of my sketch is on one layer. I'm also finished with this reference photo, so I can go ahead and swipe left, and hit " Delete". Let's go ahead and fill in this ear right here. I'll go back to my wrench, swipe left, insert a Private Photo, and I'll go with this screenshot right here. I'll size it up. Go to my Layers, tap that "N", bring down the opacity so I can see what I'm doing. Go back to my arrow and find a nice placement for the flowers within this ear. One thing to take note of here: This is why it was important to draw that eyeball in and any other facial features first, because I don't want the flowers to overlap that eye. I want it to be able to stand out on its own. As I adjust the placement for these flowers, I'm just keeping that in mind and making sure that I'm not accidentally overlapping it right there. I think this placement looks great. I'll go back to my Layers, drag that reference photo underneath my sketch, tap my sketch layer, and same as before: I'm just going to go ahead and fill this out. Again, it doesn't have to be this perfect duplicate. It can just be a general idea of what the reference photo is. You just want to get those basic forms down. Just like before, I'm just sketching over the silhouette. That's totally fine. If I want to pull these flowers out later, put them somewhere else on the outside of the illustration, now, I definitely can. I'll go to my Layers, delete that reference photo, and take a look and see how things are shaping up. I think I might add a few more of those leaves around this area just to flesh it out a bit more. Maybe there's a leaf coming in like this. Perfect. Just like I did before, I can go to my selection tool and under "Freehand", I can grab that leaf I just drew: three fingers, swipe down, "Copy". Three fingers again, swipe, "Paste". Now, I can grab that other leaf and find some creative places to put it within the composition. Maybe it's coming up right here and filling in that space a little bit better. Again, arrow will set the transformation. In addition to using reference photos, you can also absolutely free-hand it. So you don't always have to be tracing on top of reference photos. If you have a general idea for type of flower or leaf you want to draw, totally go for it. I'll show you what I mean by that. I'll go back to my layers real quick. Merge those two sketches together, so that again, my entire sketch is on one layer. I'll go back to the forehead of my elephant. Maybe I'll just free-hand a flower that's coming through on the crown of his head. I'm not using a reference photo for this. I'm just freehand drawing it. Flowers are pretty simple after all. Cool. Now, he has a nice little forehead flower coming through. At this point, I'm going to go ahead and speed up the process a little bit and get the rest of this elephant filled in with a sketch. Remember, the more detailed and intricate your sketch is, the longer it will take to illustrate. Whereas the simpler your sketch is, the speedier the illustration process goes. So either way, just do whatever works for you. At this point, I'm going to go ahead and finish up this elephant. [MUSIC] At this point, my elephant is actually looking pretty good. There's no awkward gaps. All of the spaces have been filled in and feel pretty proportional. As you can see, I've done a lot of duplicating. This one leaf that I originally drew, I ended up duplicating over here and over here. Even this grouping of flowers, I reused on this leg, and this leg. Our big hero flower is here. I also duplicated and pasted it down here and made quite a bit smaller. That's why I like these speedy shortcuts when it comes to illustrating: You don't have to reinvent the wheel every time. You can take these steps to speed up that sketch process. At this point, what I'm going to do is look through and see if there's any other gaps that might need to be filled. Maybe I want to add in any sort of extra leaves or embellishments. This is the time to take a peek and see what else I may need to add. One thing I do want to point out here, is that within these groupings of florals, there's not a lot of shapes overlapping each other. For example: This cluster here is all on its own. So is this grouping right here. It's not overlapped by these other flowers. I did that intentionally, again for that same reason– for later, in case I want to pull out any of these flowers and use them as embellishments around the illustration. It'll be really easy for me to isolate those shapes when they're not touching anything else. Keeping those groupings contained can be really beneficial for you later because it'll give you more flexibility with how you decide to use these flowers in the future. But at this point, I think my sketch looks absolutely fabulous. I don't want to overwork it, so I'm going to go ahead and call it finished now and move on to the next step, which is one of my favorites: It's color exploration. So, let's get going. 8. Color Exploration: [MUSIC] Now it's time for color exploration. This is one of my favorite parts of illustrating on my iPad. It's coming up with some really unique color combinations, alterations, and just seeing what magic happens when you start infusing color into your illustration. Let's dive right in. Because we're at another pivotal stage in our illustration, I'm going to go ahead and duplicate this Canvas just to save my progress. I'll go back to Gallery. Hit "Select". Grab that Canvas, and hit "Duplicate". Then hit the "X" and I'm going to tap where it says floral sketch and change it to "Color Exploration". Now, we're beginning to see the progression of Canvases. Let's go ahead and open this guy up. The first thing I'll do is go to my Layers and clean this up a little bit. Go ahead and consolidate your sketch so it's all on one layer. Delete any reference photos if they're still in there. You should be at a point where you have two layers: the sketch itself and then that animal silhouette. It's cool when you turn off the silhouette and you just see the flowers that you illustrated. Beautiful. Silhouette back on. What we're going to do here is create a series of color explorations, just to get our creative juices flowing and find a color palette that looks amazing and we want to move forward with. When I start having a lot of color explorations on my Canvas, it's going to add up and be a lot of layers. Because we're already working with such a huge Canvas, we have a finite layer limit. In fact, if you keep hitting this plus sign, you'll see exactly how many layers you can have before you hit the limit. Here's mine right here: "Maximum of six layers reached." I know for a fact that when I do color exploration, I'm probably going to be over six layers because I'm trying out colors, trying backgrounds, trying a bunch of stuff. That's going to be an issue. What I'm going to do at this point is actually shrink that Canvas back down. That way, I don't have to worry about layer restrictions. This is why we have that Save As: Once we shrink this "Color Exploration" Canvas down so we can have a bunch of layers, we're going to go back to this "Floral Sketch" one, duplicate it, and have that be the one that we move forward with because it's already that ginormous Canvas. If you're a little bit confused now, you'll see more of what I mean when we get into this color exploration. Let's go ahead open up that "Color Exploration" Canvas. The first thing I'm going to do is, well, one, delete all of those extra layers that I just added for illustrative purposes. Cool. I'm going to grab both of these layers together by swiping right on both. Then I'll go to my Arrow tool and bring this guy way, way down, shrink him to be very teeny tiny. I'll press the Arrow tool again to set that transformation. The reason I did this is because I want to bring my Canvas back to be pretty small again. Remember, smaller Canvases in Procreate mean you're allowed to use more layers. I'll go back to my wrench, Canvas, Crop & Resize, and I'll bring this way down. You can see here how many layers are available depending on what size your Canvas is. If it's huge, you might only get six layers. If it's really tiny, you could get up to 400. From personal experience, when I do color exploration, I usually get to around 10 or 20 layers. Right here– 49, 50? That's more than enough. That'll be just fine. I'll press Done. Now I'm back to my small Canvas. Remember, this Canvas is just going to be a one-off. It's just for color exploration. When we're ready to start outlining and moving forward again, we're going to be working off of this Canvas right here, because it's big. And bigger is always better in Procreate because you'll have more options with how you print out your work. But for now, I'll go into my "Color Exploration" Canvas. This is where we're going to create some pretty funky color palettes. I'll go ahead, grab both of those layers, hit my Arrow tool, and bring this guy up to the top. This is where I'm going to come up with my first color palette. I'll go to my brushes and change that brush back to that Outline Inker. This is going to be the one that I'll use to fill in all the colors. I'm going to start by creating a background color for my elephant. I'll go to my Layers, tap one of the layers to de-select, press that plus sign, and then just make sure my brush is selected, and then just draw in a background square and fill it in. You'll probably have to go back to your Layers and drag that background so that it's behind your elephant itself. This is going to be our first color exploration. I don't necessarily want red for the background, so let's go ahead and address that first. I'm going to go over here to my Colors. Down here at the bottom menu bar, I'll select "Palettes". This is where I have all of the color palettes that I create in Procreate, including the ones that I created for this class that I've gone ahead and already imported in. Just like the brushes, your imported palettes will either show up here at the very tip top of your Palettes or somewhere at the very bottom. But I'm going to go way back up and select the palette that I'd like to start with. I think I'll start right here with this Pastel Peppermint. Maybe I'll have this mint green be the background color. If you select that color, you'll notice up here on your circle that your color palette has changed. If I were to select the brown or the pink, all of those colors are indicated up here on the circle. This shows your dominant palette. I want that mint green. I'll go back to my Layers, make sure that red square is selected, and simply drag it and drop it in. This is going to be that baseline start for my color palette. Next, I'm going to address the color of the elephant itself. Just like the way that I like drawing in those floral elements, when it comes to filling in color, I prefer to work from the largest areas to the smallest areas. That helps me establish the hierarchy a little bit more and get a better feel for how those colors are balancing together. In this case, I started with the background. Now let's go ahead and decide a color for the elephant itself. I'll go back to my Palettes, and maybe I'll keep it pretty simple. I'll go with this blue right here. One thing that I found when I create illustrations like this are darker silhouetted animals tend to look a little bit better because it allows those florals to really pop off that silhouette. So, the dark blue selected. I'll go to my Layers, make sure my elephant layer is selected and drag this blue in. Excellent. This is my starting point. Next up, I'm going to go ahead and change the line color for the sketch itself. When it comes to illustrations like this, another thing that I found that works really well is to have the line color of those floral embellishments match the background color. It just makes it feel a little bit more cohesive and sophisticated. You can always break away from that rule, but I do recommend giving it a try because I think it looks really nice. For that, I'll go back to my Layers. Make sure my line work layer is selected. Zoom way in so I can really drop that color in easily. Go back to my Color Palette, grab that mint green, bring it over, and really keep an eye on this Color Drop Threshold, and get it as close to 100% as possible. Awesome. Now I can see that that outline color matches the background. For our final illustration, our lines are going to be a little bit thicker than this, but this still gives you a pretty good idea of the color story there. Now it's time to start filling in some of these florals. Like I mentioned, I prefer working from the largest flower to the smallest flower. That really helps me balance out that color story. I'll go back to my Palettes. Hit this plus sign to add a new layer. I'm going to click it and drag it so that it's sandwiched between the outline layer up top, and then the silhouette layer down below. That means whatever we draw on this layer will appear over the silhouette, but under the lines, which is perfect. I'll go to my Color Palettes. I'm in this Pastel Peppermint range here. I think I'll use this really bright pink as the hero color for this main flower. It doesn't have to be perfect. You can just draw it in like this and keep it pretty loose. If you're wondering why I just got super blobby on my screen, it's because the idea of this color exploration isn't to fine-tune all of the perfect flowers and whatnot. It's just to give us a really quick glimpse of what types of colors are working well together. It doesn't have to be perfect. Usually, I'm just getting really blobby with the way I do those colors to get a general idea of what color balance is going to work best. Maybe I'll try out this lighter pink for this other hero flower over here. How about this peach right here for our last hero? Cool. I'm already getting an idea for how these colors are interacting with each other. At this point, I'm going to go through, pull from this Pastel Peppermint palette, and start filling in the flowers in here. Just to get a general sense of color. It doesn't have to be perfect. It can be really blobby and goopy, and that's just fine. [MUSIC] [MUSIC] One quick shortcut I want to show you: Instead of going over here, choosing from your palette every single time and then filling in, one workaround is to utilize this Color Picker over here. If you tap this guy, you can drag it around and sample a color from your Canvas and it'll change up here on your color indicator. For example, you could grab your Color Picker, land on let's do this brown right here it'll go ahead and change and then you can start filling in the elements with that same brown. Same thing: You can go switch to that bright pink and start filling in your elements with that bright pink. If you don't want to always have to go back up to color palettes and change up here you can use the Color Picker. It's just a shortcut that does the same thing. I'm going to go through, fill in some color and see how it comes together. [MUSIC] Cool. Here we have our very blobby color exploration. Again, the point of this is just to get a general idea of that color composition, and make sure that it feels really nice and balanced. What I'm looking for here is I want to make sure that it feels like a really nice balance of color overall. Taking a look at this, I can see that the brown of those leaves are balanced out really well throughout the composition. There's also a nice mixture of tonality between these flowers: the peach, the light pink, and then that brighter dark pink. Altogether, it's balancing out really well. That's exactly what I'm here to see. If you're looking at yours and you're seeing that there might be some big gaps where you're missing some leaves or some flowers, this might be a good time to take a mental note and see if you can readjust the color composition. Or possibly even go back into your sketch and add an extra flower or leaf to help balance it out. That is what I'm looking for here. But we're not just going to stop at one. Oftentimes, I find that when I'm exploring color palettes, the first one I try, although I think it looks amazing and I love it, it usually isn't the one that I move forward with. You can get some really fun surprises as you continue exploring color and trying out a few more palettes. I'll walk you through exactly how I do that. First things first, I'm going to go over here to my Layers. Swipe right on all four of those layers: the line work, the color blobs, the silhouette and the background and I'm going to hit "Group", so they're all contained within the same group. You can go ahead and toggle that carrot to consolidate the group and just make your layers palette a little bit more organized. You can always open the carrot or close it, depending on what you're editing. I left all this extra space down here. That is so we can try out some more color palettes and find some fun surprises. The first thing I'm going to do is swipe left on my group and hit "Duplicate". Cool. I'll grab my arrow tool and bring my new group off here to the side. Arrow tool again to set the transformation. Now with this new group, I'm going to try out a brand new color palette and see what's working. First I'll go into my Layers, turn on and off the visibility to double-check that I'm on the right group. Toggle that carrot down, and same as before, I'm going to start with a background color. Let's go back into our palettes. I'm going to take a look through some of these other palettes that I've created. I'm really liking this Retro Traffic Light palette, so I'm going to give this one a shot. For the background, I'll use this cream color right here. Again, my background layer is selected, so I can drag it right in. Next, I want to get the color of the silhouette. I'll go to my Layers, select that elephant silhouette, go back to my palettes, and within Retro Traffic Light, I think I'm going to choose the darkest color within this palette, drag it in, and fill my elephant. Honestly, this color palette is looking pretty cool. This is what I mean by those fun surprises that can happen as you're exploring color. What I've done here is fused two separate color palettes together from the list over here. And I really like how these bright pops of pink are working against that cream background and chocolate colored silhouette. Maybe instead of filling in the rest of these florals with the Retro Traffic Light palette, I'm just going to keep this one off to the side and have this be a strong contender for the colors to move forward with. This is why color exploration can be so fun. You wind up with these really unique surprises that you weren't even anticipating when you're getting started. So, second color palette completed. But we've got room for a couple of more. I'm actually going to go to my wrench, hit Crop and Resize, and just bring this down a little bit so that we have a little bit more room. Cool. I'll go back to my Layers, toggle that carrot to consolidate that palette, grab my original, swipe left and hit Duplicate, and then using my arrow tool, I'll bring this back down. Let's try a brand new color palette over on this guy right here. I'll go to my Palettes and for this one, Rainbow Nectar. This is that same palette I used for my dog illustration and I really love how it turned out. I'm going to give this one a go for the elephant. First things first, I'm going to use this cream color as the background. I'll go to my Layers panel, double-check that I'm on the right layer, toggle that carrot down, select the background color, and change it to cream. Now, I'll go through, select my elephant silhouette, go to my color palette, and for this one, I'm going to use that really dark navy. This is another instance where I really like how this color palette came together. Having these bright pinks against this navy is really polished. But I want to show you how to create more color palettes. Instead of sticking with this one, we're going to change it up a little bit. I'll go back to my Color palette. And same as before, I'm going to start with the largest flowers and then work my way down. Because the color palette here is already pretty evenly-distributed, I think the way that I'm going to do this is just swap out colors. For all instances of this bright pink, I'm going to be using this purply-pink to replace it. I've selected that color palette. I'll go to my Layers, make sure my blobby floral layer is selected and I can drag this in. If you just filled in that color and you found that all of the colors changed on your screen, again, that's a Color Threshold issue. I'll show you how to fix it. Let me undo. Remember, as you drag in, before you lift up your pen, keep an eye up here on that Color Drop Threshold. If it skews all the way to the right, it's going to affect all the colors that are touching it. I don't want that to happen. I just want to spot-edit this specific color, so be really careful on what that threshold looks like. 100% is going to skew all of the colors in this entire floral bloom. Undo. But if you bring that threshold back down closer to zero, it's only going to fill in that exact color that it's touching. That's what I want to go for here. 99% of the time, when that color drop isn't really working the way you want it to, it's a Color Threshold issue. So just always keep that in mind if you're getting these unexpected results. Like I mentioned, the color balance is actually looking really nice here. I'm just going to go through and change all that bright pink to this mauve purple. Next up, I'm going to go for the second largest color, which is this peach right here. I think I'll replace that with this ochre bright yellow. Then that final flower: I'm going to have that be this really nice bright orange to replace that pastel pink. Then for the leaves: Honestly, these browns in my Rainbow Nectar palate are close enough, so I'm just going to be a little bit lazy and not worry about changing those colors. I think this gives me a pretty general idea for how that color palette looks. Awesome. Oh, one more thing– Let's go ahead and change the line work. I'm going to select the sketch layer, zoom really far in, change it to that same cream we're using in the background, and drag this in to replace it. Perfect. Honestly, taking a look at all of these, this is the one I'm most interested in moving forward with. But I'm going to do one more thing and try out a different background color. I'll go back to my Layers, consolidate that carrot, toggle on and off the visibility to make sure I'm on the right, one, swipe left, hit Duplicate, go to my arrow and bring it over. Press the arrow again to set the transformation. Let's toggle down, select that background color, and go through all my palettes and just see if there's anything else that I think is working better. Nope. Not that coral. Maybe a dark brown. How about an olive green? At this point, I'm just going through, pulling some different colors and seeing what I think is working and not working. Honestly, this blush background is really pretty against this palette, so that could be a contender. The point of this color exploration is for you to try out a few different palettes and find one that's really resonating with you that you'd like to move forward with. This one on the bottom left is definitely the winner. This is going to be the color palette that I'll use to move forward with in my final illustration. For you, you're welcome to stop here with four palettes, or you can go through the other palettes that I have for this class, and try out a few more until you find one that you're absolutely in love with and really resonating with. But again, for me, this guy is the winner and this is what I'm going to move forward with for my final illustration. Next up, it's time to start filling in the outlines of those floral embellishments. 9. Outlining: [MUSIC] Now it's time for the most relaxing part of this entire illustration process. It's going to be outlining all of those original florals that we've already sketched out. The sketching was the hard part, this is the meditative process. So let's get started. This is where we left off. What we want to do is go back to the Gallery, and remember, we're going to be working off of this floral sketch, not the color exploration– that's way too tiny. I'll go to "Select" grab that floral sketch, hit "Duplicate", then hit that "X", and I'm just going to grab this and move it to the end of the stack so we'll have a natural progression of our progress as we go. I'm also going to tap where it says "Floral Sketch" and change it to "Floral Outline". Perfect. We'll come back to this guy later, as we reference our color palette that we choose to move forward with. But for now, we're going to continue on this larger art board. Let's go ahead and open it up. The first thing I'm going to do is go back to my Layers. Pinch together my sketch, so my sketch is all on one layer, and my animal elephant silhouette is all on its own layer. We only have two layers in our layers palette, plus that background color. While our layers palette is open, I'm going to go ahead, hit this plus sign to make a brand-new blank layer above everything else. This will be the layer where we draw all of our floral outlines. It's completely blank, and it's on top of the stack. Make sure you're not drawing on your sketch layer. You're drawing on that new blank layer. That way, when we finish it, you can swipe over and delete that sketch and wind up with a nice clean outline. First things first, I'm going to go into my Palette. That Rainbow Nectar palate is the one I'm moving forward with and cream is the background color so it's also going to be my linework color. I've selected the cream. It's changed up here in my color indicator. Let's go to our Brushes and make sure that I'm on that Outline Inker brush. Double, triple, quadruple check that you're on that new blank layer and let's get going. I like to start my sketch with the face and any other embellishments that I've done in my illustration. In this case, it's just that very simple closed eye. The first thing that I'm going to check is what size of my brush is going to work best for all of these outlines. Right now it's at about 15%. I think that's a bit too thick, so I'll undo it and let's bring it down to about 9%. That actually feels a little bit better. Sometimes, you might need to play around a little bit, just see what's starting to feel good and what feels like an appropriate weight. I'm going to undo all of these. Bring it up, maybe 12%. This just takes some trial and error. Honestly, I think that's working really well for me. The percentage here is 12%, and now I have a pretty good idea of the size of my brush. One more thing to point out here: my opacity is all the way up at 100%. Pro-tip here: When it comes to illustrations like this that have a lot of heavy linework, one thing that can help it feel a little bit more professional and elevated is if that line weight is pretty similar throughout the illustration. I'm not talking about the thicks and thins, it's nice to have some variation there. What I'm talking about is if you're using this kind of weight on part of your illustration, it doesn't make a lot of sense to use a heavier weight later on in your illustration. That's why it's so important to choose a line weight that you think is going to work well throughout, and then keep it consistent. That way, when this is entirely finished, it'll have a consistent line weight throughout, and it'll really feel cohesive and professional. That's a tip from my illustration professor in college: Always try to keep that line weight consistent throughout, so it feels like a really professional illustration. What did I net out on? I think 12% looked pretty good. That'll be the one I move forward with. Another pro-tip: When you find that perfect line weight, go ahead over here in your layers and rename your layer name the percentage that you're using for your brush. That way if you put away this illustration, maybe do something else and bring it back, you'll remember that exact percentage you used for your brush. If you want to take it a step further, you can do 12% and then also list out the name of that brush, Outline Inker, right here in your description. That way, again, if you put this away and come back to it later, you'll always remember the brush you used and the brush size. I do this all the time because I'm usually working on three or four illustrations at once: Changing my brushes, changing opacity. This just helps me stay a little bit more organized and remember the exact brush and size I was using. I netted out at that 12%. Now, it's time to go through and start outlining everything. I'm going to start with the eyeball. And remember, you can rotate your canvas around until you get to a place where it feels more comfortable and intuitive as you draw. For this one, I want to start out light and then get a little heavier as I draw with a pen. I'll do the same thing for these eyelashes. Perfect. You can always go back to your layers, toggle off the visibility of your sketch layer to see how that's looking on your page. I think that looks great. I'll go ahead, toggle that sketch back on, make sure that I'm on that outline layer and without further ado, let's just go ahead and get started. I'll go ahead and start right here with my hero. I'm varying the pressure as I draw, some thick and some thin lines. You can always come back in and smooth out those connection points, so they feel really nice and cohesive. Same thing here: I'm really varying the pressure between those thicks and thins, just to give it a little bit more visual interest. You don't always have to follow your thumbnail sketch exactly. You can just use that as a visual reference, but then eyeball it and take some creative liberty as you're drawing. Same thing here– I started out with a very light, thin pressure, and then I got heavier as I connect it. If you ever go over the line a little bit, you can just go to your eraser and just smooth that out ever so slightly. One flower down. Just a few more to go. As you can see, this is a really meditative and therapeutic process. This is when I like to put on a good playlist or podcast and just zone out and start filling in those outlines. It doesn't require much thinking. We did all of that when we were drawing in that thumbnail sketch to begin with. I always find that this is the part where I can just chill out, go with the flow, and create some beautiful linework. [MUSIC] Remember, if there's any point where you want to check your progress, you can just come over here to your layers, turn off the visibility of your sketch and see how it's coming together. When it comes to doing some of these elements that are hanging off the side like this, I can see how my color looks. It's actually hard to read against that white. So in situations like this, it can be helpful to open your layers, tap your background color, and make it something with a little bit more contrast, so that you can actually see what you're doing as you finish that outline. Remember, for any shapes that are coming off the edge of your silhouette, go ahead and fill those out in their entirety, because later on, we might be able to pull some of these and use them as background elements for our final illustration. Every time I finish a new piece, I just go through and check and make sure that everything is smoothed out, especially those areas that connect to each other. At this point, I'm just going to go through and finish filling out these outlines for all of the florals within my silhouettes Again, varying the pressure so it starts out light and then gets heavier as I go. [MUSIC] Remember it can help when you rotate the canvas to find a more intuitive placement for your hand, especially as you work on these curves. [MUSIC] At this point, I've gone ahead and filled in the entirety of my sketch. I'll go over here to my layers, turn off the visibility of my sketch, and this gives me a pretty good idea for how well everything is filled in. Here's a little pro tip here: If you take your outline layer and move it so that it's just over your animal silhouette, and then you tap that layer and you turn on Clipping Mask, that will show you exactly how this is going to look in the final, with these outlines contained within the silhouette itself. Now that I can see my sketch like this, what I'm really looking for is the density of the sketch. I want to make sure that it really balances well in the composition. It looks like over here around the feet and the ankles, there's a lot of density. There's a lot of details and line work and I think it's really beautiful, but then over here in some of our heroes, that's getting a little bit lost. It feels really airy and open and disproportionate compared to some of the other areas in our illustration. Let's go ahead and flesh that out a little bit and give it some more detail in those areas to balance out that line weight. I'll go ahead, tap my layer, turn Clipping Mask back off, because remember, I want to be finishing all these pieces that are hanging out over the edge as well. One thing I really like to do, especially with this brush, is utilize those thicks and thins as details within the petals. Again, let's just triple check that we're on our outline layer. And now, I can vary the pressure within my stroke and get these really nice details within my petals. Just make sure that you're smoothing it out as you go. If you have any overlaps, you can go ahead and clean those up as you're drawing. But now, just by adding these little details, it's helping this illustration feel a lot more sophisticated and it's giving it some more visual intrigue. Plus we're solving that original problem, which is: this area wasn't as dense as this area, so we're solving for that right now. The real key to adding these embellishments and veinings within the petals, is to really vary that pressure. I start out pressing light and then I get heavier as I come towards the end. So, light and then heavy at the end. I'm going to go through and do the same thing and add that veining for some of these other larger petals as well. [MUSIC] I might even add that within the leaves themselves. [MUSIC] At this point, I'm just going to be going through, looking over my illustration, I'm looking for more opportunities to add some of these details and lines right into my petals. The other nice thing about adding this additional line work into the petals, is it gives a really nice suggestion of movement. Now, they have some more oomph to them. Plus, these lines are really nice textural element that you can infuse right into your illustration. I love the tapered edges on this brush. I think it makes for this really beautiful line work, especially when you add movement and shape by filling in these extra embellishment lines within the petals and leaves. Remember, the rotation of your canvas and the placement of your wrist really matters, especially when you want a really nice subtle curve. [MUSIC] I finished my extra line work, I'm going to go ahead, take a look at this. I'll go back to my layers, tap my outline layer, and put that Clipping Mask back on so that I can get a really good idea of the placement here, and just make sure that it feels really nice and balanced and full. Before all is said and done, I like to do one more step with this outlining phase. And that's to sprinkle in some fun embellishments right into our silhouette. Same thing, I'm going to be doing that on that exact same layer. Same brush, color palette. The only thing here is I'm going to bring my brush down a little bit so that I have a little bit more control over what I do. This is where I add some fun stuff like stars. It helps to zoom in and then really finesse those edges, but they don't have to be 100% perfect. I also like adding dots and circles. Just fun little sprinkles of embellishments that really make this composition feel magical. Maybe if stars aren't your thing like they are for me, maybe yours could be Xs or crescent moons, polka dots, things like that. Just think of fun little embellishments that you can add in to your illustration to give it a little bit more sparkle and shine. Maybe yours are little mini daisies like this that you fill in just to add some fun touches. But I'm going to keep mine pretty consistent, and finish fleshing it out with these little sprinkle stars and dots. I like to have these little clusters in certain areas. It almost looks like pollen coming out of the flowers. The key here is definitely not to overdo it, but to keep it nice and subtle. You can even vary up the size. You can have some larger elements, some smaller elements, just to make it a little bit more varied. Just like before, I'm looking for a really nice balance here. I don't want it to be too overwhelming, but just enough so that it feels nice and even toned across the entire illustration. I think that's looking really nice. I'm actually going to go back to my layers and change that background color back to that original cream. Now, I'm getting a much more solid understanding of what this final illustration is going to turn out looking like. This is the point where I'm taking a fine eye and looking at my illustration, making sure this line work is really balancing. I had these nice collections of clusters and stars and sprinkles that almost look like pollen coming out from these flowers. I think this is in a really good place. It really reminds me of porcelain, especially with that dark blue and then that cream line work coming through. But we're not going to stop here, the next step is where we really breathe life into our illustration and start infusing those colors right into our animal silhouette. 10. Fill the Flowers: [MUSIC] Now that we finished the outline, it's time to start dropping in color to fill in that animal silhouettes. Just like doing all of those outline strokes, I find this part really relaxing. It almost reminds me of coloring books. It's very meditative and calling as you fill from color-to-color. Here is where we left off with our illustration. If I go back to Gallery, you can start seeing that progression as we go. I'm going to go ahead and duplicate this canvas. Select, grab that floral outline, and hit Duplicate. Then hit that X. I'm going to change the name of this one too Floral Fill. Perfect. I'll go ahead and open up that new Floral Fill canvas. Go to my layers and I no longer need that sketch layer. I can go ahead, swipe left and delete it. Now I'm down to two layers. I have that outline fill and I also have that elephant silhouette plus the background layer itself. While we're here on our palette, I'm going to go ahead, tap the thumbnail for my outline and turn off the clipping mask. We'll turn that back on later. While I'm here, I'm going to hit a plus sign to start a new layer. I'm going to click and drag this layer so it's in-between my animal silhouettes and then those outlines themselves. This will be the layer where we start filling in that color. It's really important that we keep this outline on its own layer preserved and add nothing else to it, and then keep our colors on an entirely separate layer. That way, later on, if we want to make some adjustments to those inside color fills, but not adjust the outline, we can keep those separate and make those changes independently. Similarly, if we want to change that outline color but keep our fill layer consistent, we can do that as long as they remain on separate layers. Essentially, by keeping things on these separate layers, it's just going to give us more flexibility. Plus it'll give us options later on. Maybe if we want to remove those fill colors and have it just be a sophisticated outline, by keeping these on separate layers, we'll be able to do that. We can also do fun stuff like infuse gold or metallic textures right into our outlines without affecting the fill. All of this is possible because we're going to be keeping our layers all separated out. Speaking of separation, we're going to do the same thing with our fill colors. We're going to keep each fill color separated on its own individual layer. That will come in handy later if we want to spot, edit certain colors without affecting the entire palette overall. For example, I might change the color of all of the pink petals so it creates a more homogenous color story overall, or I might change my mind at the end and make the stems green instead of brown. This will be possible by keeping those individual color layers separated, which is how we're going to build out this palette. Let's just go ahead and dive right in. First things first, what I'm going to do is turn down the transparency of our outline layer. That way I'll be able to better see what I'm doing. I'll tap that N and bring that opacity of our outline down to about 50 percent. Now make sure that your new blank layer is selected and this is what we'll be using for the fill. I'll go to my brushes, make sure I'm on Outline Inker. Go to my Palettes and I'm going to start with this pinky purple magenta palette. I'm going to use this color on my new blank layer to fill in all of those purply magenta areas within my entire composition. This is where having that earlier color study really comes in handy. I'm going to go ahead and reference that using the palette that I decided to move forward with, which is this one right here. First things first, I'm going to look for all of those pink areas within my color study, and that's what I'm going to fill on here with my new blank layer. I have my brush, my color palette. I'm on that new blank layer. I'm going to go over here to my brush size and bring it down quite a bit so that it's really small. Now I can zoom in. Literally what I'm doing is going through and outlining that existing flower that I created earlier. That first hero flower that has that nice pink tonality to it. Using that small brush is helpful to make sure that I don't accidentally go over the lines or under the lines like this. Once I've filled in the entire shape and there's no gaps, I can go ahead and drop in the color. Now, just like that, I have filled in my first shape. If you want to see what that looks like, you can go back here to your layers, tap that N on your outline layer, and bring that opacity back up to 100 to see how that fill looks in action. Doing that manual outline I just did is a little bit of an extra step. But again, it's important because I want to keep these on two separate layers. I'll show you what not to do. If I were just to go on my outline layer itself and fill in the colors, it would certainly fill in quite a bit faster but then I wouldn't have that separation of layers so that later if I want to change the outline color independently of the fill layer, I wouldn't be able to because those are stuck on the same layer. That's why we take that extra step of redrawing out that outline and filling it in separately on its own layer right here. I'm going to undo that fill. Now my outline layer is just outlines and I've begun that fill layer with just fill. Remember, this is another reason why it's so important to make sure that your shape is filled in entirely. If there's a gap like this, the entire art board will fill in. But if you close that gap, then it will stay contained. As you're outlining your shapes, just keep that in mind. If the whole color floods through on your entire canvas, you'll want to go through and make sure there's no gaps that it's leaking through. I'm going to go back to my layers, go back to that outline layer, bring it back to about 50 percent, and then make sure my new fill layer is highlighted. I'm going to go through using my color study as a reference and fill in all of these purple areas to keep them all on the same layer. One more thing, for these flowers that are cropping off, it can be hard to tell exactly how to fill that in. I'm going to go back to my layers, tap my Background Color, and make it something a little bit darker so that I can actually see what I'm doing here. Remember, that's not a permanent color change, we'll go back later and put our background color the way it's supposed to be. I'm on that new magenta fill layer. Let's go ahead and fill in all the similar colors across the entire canvas. You don't have to do this all in one continuous stroke, you can do chunks at a time like this. Just make sure that they're all staying connected so there's no gaps and fill it in. If you don't fill it in all the way, no worries. You can just make your brush a little bit bigger and then fill in that extra little chunk. It doesn't have to be perfect because, again, those white outlines are going to be over everything else. If your fill is a little bit jagged, it won't matter because it's hidden behind those outlines themselves. That's going to be the gist of it. I'll go through this entire illustration, fill in those magenta pink areas, and keep them all on the same layer. Let's go ahead and get started. First, I'll go back to that outline layer, bring down the opacity, make sure that I'm on that magenta layer with a very tiny brush size to make it easier, and I'll fill it in using my color exploration as a reference. Remember, if you get a full flood of color like this, but your lines were connected, there's no gaps, that's a color threshold issue. Before you release your pen from the screen, just take a look at that thresholds and get it as close to 100 without filling in everything else. Once you establish a color threshold, it will remain consistent until you change it again in your illustration. That definitely speeds up that process for you. Going through and filling in all those pinks. If you go outside your line a little bit, no worries. Just grab your eraser, maybe you bring that up a little bit, then you can erase that part out. [MUSIC] Cool. I finished filling in all of those pink areas as indicated over here in my color study. But before we move on to the next color, let's go ahead and erase out these centers so that we can fill those with a separate color. I'll tap my Eraser, make it a little bit bigger, and just erase out those center areas so that we can fill that with an opposing color. If you accidentally go over the lines here, no worries, you can just switch back to a big brush and fill it back in. As you can see, it gets pretty jaggedy over here with our fill, but it really doesn't matter because, again, those outlines are going to cover it entirely. If you get a little bit messy behind that outline work, no problem whatsoever. I'm going to go through and finish erasing out the centers of these flowers so that we can fill them with another color later on. Sometimes it takes some adjusting with your eraser size. [MUSIC] Excellent. We have all of those pink areas filled in. I'm double-checking over here with my color exploration to make sure I got them all. Looks fantastic. Now, it's time to infuse some more color depth into those existing pink areas or whatever color your first layer is. This is how we transform those flat colors into really dynamic fills with lots of movements. I'll show you how. 11. Color Tonality: [MUSIC] Now it's time to take this flat color fill to the next level. We're going to add some depth and flow into this same fill color layer by altering the tonality between flower petals. Let's get started. To do that, I'm going to go over here to my layers, Tap the N on my outline layer, and bring it all the way up to full opacity. Now, I'll tap my fill layer and turn on Alpha Lock. With Alpha Lock turned on, if I try to draw anything outside of that layer, it won't show up until I get on that layer itself. Alpha Lock comes in handy for things like texturizing and making sure that you're only filling in that exact layer. But for this here I'll undo, I'm going to be using Alpha Lock to infuse a little bit more color depth into this existing swatch of color. I'll come over here to my layers, and this is the pink that I used to fill all of my existing flowers. Now I'm going to choose the lighter version of that pink to alternate the color of those petals. We'll go back to my layers, makes sure that fill layer is selected and that Alpha Lock has a check mark next to it. Now I can go through with a much bigger brush and start filling in these colors so that I can give some alteration to the petals. Maybe I'll have one light pink petal next to a dark pink and then another light pink. The reason I turn Alpha Lock on is I don't have to be as perfect with how I draw. I'm majorly going over the lines here, but it doesn't matter because Alpha Lock is on. I do have to be careful over here on this edge because I can spill over like this. But I don't have to be careful on these top edges because Alpha Lock is already containing those shapes. Now I'm just going to go through and alternate my petals so that it goes light pink, dark pink, to light pink. This is just add some more visual interests into the color story. Remember, you can always two fingers to undo and it might take some finessing to find a brush size that works for you. By alternating these petals between light and dark, it's also showing a little bit more depth to your flowers. Instead of just having one flower fall flat, it's now got a little bit more dimension to it simply by adding some light and dark variations to that same color. A quick walk around, if you accidentally go over the boundary a little bit, just go back to that color picker, go to that original color and you can fill it in. Remember, that's just a shortcut so you always don't have to go back to your palettes. Then don't forget to change your color back to that lighter color as you finish adjusting the tonalities. [MUSIC] Cool. At this point, I have a nice variation within that pink layer itself. I have some darker areas, some lighter areas, and it balances out in a really nice way. Now I'm going to show you one of my favorite techniques for infusing more movement in depth and intrigue right into these colors, so they don't fall so flats and they have more dimension and depth to them. I'll show you how. 12. Petal Embellishments: [MUSIC] Now let's go ahead and take these petals a step further. I'll show you how to draw in some textural line work to create movement and more depth into your florals, so let's dive in. Again, I'm on that exact same layer remember we have Alpha Lock turned on, and I'm going to bring my brush size back to that original 12 percent or so that I used on that outline inker. Now what I can do, let me make sure I'm on this lighter color right here. With the lighter color, I can infuse some really intriguing line work like this to the dark areas to reinforce and replicate what I've already done with these white outline strokes. I'm going through adding some fun curves and movements and line work right into those darker areas and then I'll switch my color to the darker version and do the same thing for these lighter petals. What this is doing is just coming up with a really beautiful organic texture to use in these flowers to really amp up that movement and make it feel like a very dynamic illustration. Check check out, just by adding these lines on these alternating petals this one flower flower has a ton of movements and grace to it, it doesn't fall flat like some of the others do instead, it feels much more intriguing. So I'm going to go ahead and do that to these other petals as well. I'll use the darker color on the lighter petals like this and then I'll switch to that lighter color and do that on the darker petals. This is a great time to adjust the rotation of your Canvas so that it feels really intuitive with your wrist as you draw in these extra line work embellishments. I'll even do the same thing on these little guys. This is another great opportunity to really practice your brush pressure and get those thicks and thins in a really nice place. I start out light and end my stroke heavier so that I have these nice tapered edges. This color picker really saves a lot of time. This is another great time to think about the movement of your petals and the way that these lines are rotated. Do they curve to the right or to the left? Do they mirror the shape of the petals? These are all considerations to take as you start infusing these fun embellishment lines. Cool, this is how it came together. Just by using those two colors we've created this really intriguing color story throughout the purple-pink areas of our illustration, or whatever dominant color you're using for your silhouette. At this point over hear in my layers palette I've got these layers. I've still got that outline layer, I've got that fill color entirely separated on its own layer, and then I have the elephant silhouette itself. Now that we finished filling in those textural movement elements right into our petals, It's time to rinse and repeat the process with our next color fill. 13. Finishing the Fill: [MUSIC] Now we have one color layer entirely finished. Let's go ahead and repeat the process and get those other colors filled in our animal silhouettes as well. Now that I'm entirely finished with this pink layer, I'm going to go ahead, hit my plus sign, and create a new layer for the next dominant color. In my case, I think I'll do the yellow next. This will be the exact same steps as before that we just did with the pink. We're going to repeat that with the next dominant color. I'll go to my colors, choose this bright yellow, go to my brush, make sure I'm on outlined anchor, my layers, double-check that I'm on that new blank layer, and then bring the opacity down on my outline layer so I can better see what I'm doing. Double, triple, quadruple check that you're on that new blank layer. I'm going to do the same thing, starting with bringing my brush size down so that it's easier to fill between the lines. Here we go. [MUSIC] Cool. I finished the fill. Now I'm going to do those exact same steps that I did for the pink as well. Starting with going over to my layers and turning the opacity backup to 100 on that outline layer, and then selecting my fill layer and turning on Alpha Lock. Now I'll go to my palettes and I'll choose that slightly darker yellow. By the way, if you're working with one of these other pallets, like let's say you're using this turquoise and the amethyst gem palette and you don't necessarily have a lighter or darker turquoise to use, you can come over here to classic and manually make it lighter or darker depending on whatever your beginning color is. You have a lot of flexibility over here in classic within your colors. But for my palette, I do have a darker version of that original yellow, so I'll go ahead and select that, make sure that I'm on that new layer with Alpha Lock checked on, and I'm going to do that same step, enlarge my brush and alternate darker and lighter petals. Remember, if you go over a little bit, you can just go to your color picker, select that original, and fill it back in. Don't forget to switch back to that darker color. [MUSIC] Cool. Don't forget to go through, use your eraser and erase out those center areas if they're going to be a different color, just like we did earlier with the pink. While we're talking about those center areas, this is another good time to consider which ones you'd like to fill in with the secondary color. I'll go back to my brush. Yeah, that's right. I've got to go over here to my layer, turn off Alpha Lock, and now I can draw outside that area. Remember, when you have Alpha Lock turned on, you can't draw in any area except where that layer is already colored in. But when you have Alpha Lock turned off, now you can draw wherever you'd like. I'm going to go through and look for other petals centers that I might want to fill in. [MUSIC] Cool. I think that looks pretty good. I'll go back to my layers, turn Alpha Lock back on, on that layer, bring my brush size back down to that original 12 percent, and do the same thing that we did on our initial color. We'll add those extra lines to create movement and depth within our petals. [MUSIC] One more down. Now, over here in my layers, I have my primary color all on one layer, secondary color all on another. We're going to go ahead and finish out that last color on florals with one more layer. Something I want to point out here, like I mentioned earlier, different models of iPad react differently in Procreate. I have an iPad Pro, which means I can get the largest possible canvas size that Procreate allows. But if you're working with an older iPad or a non-Pro, you might start running into some layer restrictions right around now. No worries, I'll show you how to solve for it. If you tried to add another layer, but you're running into this error up here, minimum of six layers reached or whatever that actual number is for your specific iPad, I'll show you how to work around that. If you are facing layer limitations, go ahead, go back to gallery, "Select" your Canvas, "Duplicate" it, hit that "X". Then in that new canvas that's a duplicate of that original we were just working on, you can go over here to your layers and consolidate your two fill layers into one layer. Right there, you've bought yourself another layer because you were able to consolidate both in one. But I would only recommend doing this if you're already running into that layer limit. If you haven't hit that limit yet, don't duplicate your canvas, continue working on it until you max out your layers. The reason is, because as we start filling these in, it is best to keep them all on their own layer for as long as possible. We'll consolidate only if we absolutely need to. In this case, if you do have to consolidate, go ahead, start a new layer. This will be that third color that you put in there. That way, that third color will still be on its own layer, and you can go back to those previous canvases, and still have each color on its own layer in previous canvases. It's a little bit of an extra step, but it's a good workaround if you're already running into that layer limits. But I'm still good to go on my canvas. I'm going to continue adding layers until I can't go any further. But if you have to duplicate your canvas, consolidate what you have, and then build from there, that's totally fine as well. So I've hit the "Plus" sign to get a brand new layer. This is going to be my last flower color, that really bright orange from my color study. I'll go over here to my palette, select that orange, go back to my layers, bring down the opacity on that outline layer, and do the same thing. One thing that's helpful is if you bring that new layer to the top of your stack, but still underneath that outline, and that way, as you go, if you need to erase out any centers to make way for that existing color, you can do that now. Similarly, now's a great time to fill in those flowers centers as well. [MUSIC] Cool. I think I've got them all filled in. I'll go back here to my layers, bring that outline all the way up, and just take a peak. Make sure I have all of the centers, all of the petal areas filled in at this point. I'm actually missing a couple. This is why we always check, so I can just fill this guy in and these down here as well. Here's a quick tip. If you want this center of the flower to not be orange, but be one of these previous colors we've already established, that's totally fine. Just go to that layer, turn "Alpha Lock" off, grab the same color that we used on that layer, and then fill in the area. That way we're keeping it really consistent, and all of our colors are still separated out and organized by layer. If you are going to be filling in something with a different color, like maybe for this center and want to use yellow, I'll just go over here, select my yellow layer, turn off "Alpha Lock", and then fill it in like this. Because we have all of these layers organized off here to the side, it's really easy to go back in. Maybe we missed a spot or two, too back to that appropriate layer, and fill it in accordingly. But before we get ahead of ourselves, let's go ahead and add those same tonality embellishments into that last color that we just created. I'll select the layer, turn on "Alpha Lock", go back to my color palettes, choose the darker or lighter version of that color, and go through and start filling it in. This one is really subtle. It's just a little bit darker than that original orange. Just like before, I'm going to bring my brush back down to that original 12 and add those nice little curves that give some great movement in depth into the individual petals. Once all of your floral areas are filled in, it's time to do an eyeball check. We're going to go through, look at everything, and make sure that we've got all the petals, all of the insides, everything that we'd like to have colored as a floral is already filled in and ready to go. At this point, the only thing that's left to fill in are going to be these leaves. Quick eyeball check. I think it all looks good. Sometimes you get some stragglers left behind. But in this case, I think it's all good. If you do need to go back at this stage and fill anything in, remember, you'll want to go ahead and toggle off Alpha Lock, and that way, you can draw wherever you'd like in your Canvas. When you have Alpha Lock turned on, you're restricted to what is existing in that layer already. At this point, we only have one more fill layer to do, and it's going to be for these leaves and stems over here. I can go ahead, hit that "Plus" sign, and get my final layer. But remember, if you're running into that layer limit right now, which does tend to happen for some models of iPad, go back to your gallery, "Select" your Canvas, "Duplicate" it, hit that "X", and then that new version of your Canvas, you can consolidate all of your fills onto one layer, keep that elephant layer on its own, and keep that outline layer on its own. But you can consolidate those fills and then start a new layer with your next color fill, which in my case is going to be the leaves. You always have a workaround if you're running into that layer limit. But for me, I can go back to that original Canvas I was working on and add a new layer because my model of iPad allows it. I think this might, yeah, this is actually the last layer I can add. Because if I try to add any more, I run into this maximum limit of six layers reached. For me, I think I timed this pretty well because I only have one more layer to go to fill in these leaves and stems. Same as before, I'll look at my color exploration as reference. I went with brown on that one. I'll switch my color palette to brown in my layers. Make sure I'm on a new blank layer. Bring the opacity down for the outline so I can better see what I'm doing, and start filling it in just like all the others. Cool. I've got all of that last color filled in. Time for that final step. Turn on "Alpha Lock", switch to the darker version, bring the opacity of that outline layer back up to 100 percent, and start selectively filling in my leaves so some are light and some are dark. Cool. Just like before, I'm going to bring my brush back to that 12 percent and start adding in some of those nice curved lines to give some nice movement to those leaves. For these, I like to think of it as the veining within those leaves. I'm still using those same curved, tapered forms, but they're coming out from a slightly different angle to match the shape of the leaf. Excellent. At this point, I have filled in all of the color behind that outline layer. I was able to keep all of mine in the same canvas. But if you have duplicate Canvases, as your color progresses, that's totally fine too. At this point, I just want to go through, make sure there's no areas I missed, and if I did, don't forget to fill them in on their correct corresponding color. Next up, we've got some finishing touches to add some absolute perfection to our illustration. Let's get started. 14. Final Touches: [MUSIC] We are nearly finished with our illustration. At this point, we just have a few final touches to make. These are some pretty quick and easy steps, so let's jump right in and polish up our illustration. The first thing I'm going to do is go over here to my layers, select that original silhouette layer and change it to the color I'd like to pull from my palette if you haven't already done this. My animal silhouette layer is selected. I'll go over here to my color palettes. Under my rainbow nectar palette, I'm going to select this dark blue, click it and fill it in. It's really subtle, but you can see that the darker blue from the palette is a little bit more desaturated than this brighter blue I was using earlier on. Make sure I get all of the chunks, the trunk, the tusk, and that back leg. Cool. At this point, my entire illustration is incorporating that same rainbow nectar palette. Looks fantastic. Next up, I'm going to go ahead and address the background color. Remember earlier, we made that background color a little bit darker so we could better see what we were doing over here with these lines that overlapped the silhouette. Now, it's time to turn it back to the color we intend. I'll tap my layers, tap where it says "Background Color" and under my rainbow nectar palette, I'm going to be using this cream. This is the same cream color that I use over here in my lines, which is really nice because it just makes it feel a little bit more cohesive to have the line color match the background. Of course, that doesn't always have to be the case, but having at least one color option like this always looks pretty nice. I have matched my background color with the same color of the line work within my illustration. Now, let's go ahead and address the parts of this illustration that overhang the silhouette itself. To do that, I'm going to go back to my layers and tap each layer, and add a clipping mask to it. When you apply a clipping mask, it has this little arrow you see over here off to the left of the thumbnail. That's how Procreate indicates that a mask is in place. What a mask does is it simply clips the above layers to this dominant layer underneath it. If we go through and add a clipping mask to each of our individual fill layers then all of our fill layers and our outline are going to go ahead and clip to that original silhouette that's at the very bottom of the stack. Remember, if your silhouette is up here or wherever else go ahead, click it and drag it so it's at the bottom of the stack, just above the background color. One important thing I want to point out just by moving that layer around and then bringing it back it went ahead and removed all of my clipping masks. They can be a little bit finicky in Procreate. When you put those on, it's best to start from the bottom of the stack and then work your way up. If you start from the top and work your way down, sometimes they don't always behave the way they're supposed to. I'll go ahead, throw those clipping masks all back on. Now, all of these layers have been clipped right into my original silhouette. It's looking more and more finalized as we go. Now, it's time for the eyeball check. What that is, is I'm just going to be looking over my entire illustration and make sure I filled in everything I like to fill in. There's no awkward spaces or unfinished areas, so I'm just going through taking a look overall to make sure my illustration is entirely finalized. If there's anything you'd like to add in, like maybe there's an area where you want to put some more embellishments, now is the time to do it. In my case, let's just say I want to have a few more dots down here at the bottom of the foot. I'll go over to my layers make sure that outline layer is selected and Alpha lock is not turned on and then I can go through, sample that same color, and draw in a few more dots to fill in that area. The important thing here is to make sure that if you're adding any more embellishments, you're doing it on the appropriate layer. If you're adding any more fill color, you're doing it on the layer that corresponds with that fill color. The very last thing to do to polish up our final illustration is probably the most important, it's adding our signature. For me, I usually tuck my signature somewhere in the bottom corner. To do that, I'll go back here to my layers. Select that original silhouette layer. Zoom in, maybe I'll have my signature between his two front feet. Switch my pencil to something that feels a little bit more natural, so I'm going to come all the way back to my sketching folder and use peppermint. Because I'm doing my signature on the elephant layer itself, I think I'm going to keep it simple and use that same dark blue. I'll go to my Color Picker, change the color to dark blue, and draw it in. Perfect looks good. If you ever want to readjust your signature, maybe make it a little bit smaller, or align it with that bottom line of your illustration you can go over here to your selection tool. Under free hand, grab your signature, use your transform tool and bring it down resize it, maybe rotate it, and find a nice snug place for it. Perfect. I'll hit that arrow to set the transformation. Here is my final illustration. Now, I have my signature and artist's name associated with my artwork. I see a lot of artists that don't include their signature on their final work. Trust me, that is doing yourself a disservice. You always want to get credit for the work you create. After all, we put a lot of time and effort into our illustration. You want to make sure that you reinforce your ownership of that illustration and always sign your work. For the last step of these final touches, I'm going to go back to my gallery tap where it says floral fill and add full-size. Now, that we finished polishing up our illustration, we've got a few final steps to take, starting with formatting our Canvas, to give some more breathing room around our illustration. I'll show you how. 15. Formatting the Canvas: [MUSIC] Now that we've finalized our illustration, it's time to format our final canvas. For me personally, this is the point where I go ahead and export my final illustration into Photoshop to make those adjustments there. I do that by tapping my wrench, going to share and then exporting as a PSD file. That means that when I open it in Photoshop, all my layers are intact. After I export it to my computer and open it in Photoshop, I drop it in a new canvas, give it some nice space around the border and that's where I make all of my color adjustments. The reason I prefer Photoshop for this is because Photoshop doesn't limit me on the canvas size or the maximum layers I'm allowed to use [NOISE] like Procreate does. That means that I can keep all of my color alts in that exact same file, all organized in layers, in that layers panel. Plus, since I'm not worrying about layer limits in Photoshop, it makes it really easy for me to pull some of the florals out of this illustration, and then arrange them around as extra embellishments. However, for the sake of simplicity, I'm going to keep this class entirely in Procreate. But if you're familiar with Photoshop and you'd prefer to go ahead and move over to Photoshop now, please feel free. Remember, you can just tap that wrench under share export as a PSD. Then you'll be able to follow the same steps there that I'm going to be completing here in Procreate. Let's go ahead and get started. The first thing I want to address is the orientation of my canvas. You're welcome to keep yours as your original size if you'd like to, whether it's horizontal like mine, or maybe it's vertical like I did with my cat and dog illustration, or a square like I did with my bunny florals. All of these options are great and I'm going to show you how you can do both, keeping your existing orientation of your canvas or changing it to something new. Let's jump right in. The first thing I'll show you is how to keep it on your original canvas orientation, which in my case is horizontal. I'll go up to my gallery, hit "Select," select that canvas, hit "Duplicate," and then hit that "X." I'm going to rename this one horizontal and open it up. This step is actually pretty simple. All I want to do for this horizontal canvas is give it a little bit more breathing room around these borders. Right now, certain elements like the tail of my elephants, even the tip of the tusk over here are really close to that border and I don't think it looks very professional. I think it'd be better to give it some more breathing room. This step is really simple. I'll just go over here to my layers. Right swipe on all of my layers to select them all. Then go over here to my transform arrow tool and simply bring it down a little bit to give that nice room to the edges. Remember, you want to be in uniform, not free-form. Free-form it gets pretty skewed whereas with uniform it will scale proportionally. What I'm doing here is just looking for a nice balance where it's not all the way flush to the edges, but it has some nice space around it like this. Plus I want to make sure it looks nice and centered on that canvas. When I'm happy with it, I'll press the arrow to set that transformation. Perfect. Like I said, that step was super simple. All we did was adjust the size a little bit to give it some more breathing room around the edges and feel like it's now a finalized art print that you could print out frame and hang on your wall. This was the easy one. Next up, I'm going to show you how you can completely change the orientation of your canvas without cropping out the illustration itself. I'll show you how. First, I'm going to go back to my gallery, hit "Select," grab that original final layer, not the horizontal with the original over here, hit "Duplicate." Hit that "X," and then grab it and move it to the end of the stack. I'll rename this one square. Cool. I'll go ahead open it up. Now I'll go over here to my wrench under canvas, I'll hit "Crop and Resize." Over here in my settings, I'm going to change this to 27 inches by 27 inches. This is the largest square canvas that I can get for my model of iPad. If you're running into some difficulty here, maybe Procreate doesn't let you go that high, try some slightly smaller numbers. Try 25 by 25 and then 20 by 20 and down until it will finally let you hit that maximum canvas size, that square. Again for me, it's 27 by 27. Instead of hitting done, I just want to take a look at this and see where it's cropping off the side of the elephant. If I went ahead and cropped it now, then this whole part of the elephant would be cropped off and I would not get it back. What I'm doing is just taking a visual look and seeing how much smaller I need to make this elephant before I finalize that crop. Eyeball check, this is the square right here. I'm keeping that in mind. I'll hit Cancel, go to my layers, right swipe on all of them, hit my arrow tool and bring it down to that size where I know it's not going to get cropped off when we crop to a square canvas. Sometimes this might take a few steps until you find that right size. I'll hit the arrow to set that transformation, go back to my wrench under canvas, crop and resize settings, 27 by 27. That's looking good. I'm not cropping out any of my elephant, so that's perfect. I'll go ahead and hit "Done." I'll zoom out a little bit so that I can see my entire canvas. Go back to my layers. They're all still selected. I'll go to my transform tool and resize this so it's centered on my canvas. If you want to bring it down a little bit and make it even smaller to give some more breathing room on the right and left side, you can do that too. Once I'm happy with the placement, I'll go ahead, hit that arrow tool. Now I have my elephant on a nice square canvas. That's exactly it. Those are the two ways that you can adjust your final illustration so it fits in a nice balanced way on your canvas, whether you're sticking with those original dimensions or creating a new orientation like I did over here with the square canvas. Now that we have those canvas dimensions established, whether you're a vertical, horizontal, or square, it's time for one of my absolute favorite parts of illustrating digitally. It's creating a really fun and dynamic color alterations. This step is so fast and easy and it's really cool to see how many new palettes you can come up with that are completely different from the original you created. I'll show you how. 16. Color Alts: Now it's time to play around with color and create some fabulous color alts out of your existing illustration. I'm going to walk you through four methods for creating some pretty cool extra-color palettes. By the way, creating color alts like this is a huge component of print-on-demand and art licensing. Instead of just uploading one color design like this to a print-on-demand site like Society6 or Redbubble. When you create multiple color variations out of a singular design, you are exponentially increasing your chances of getting more of your designs sold. The best part is all of the hard work is already done. You've already completed your illustration so why not take it to that next step and then create some more fun color alts so that you have even more designs in your portfolio? This is a great strategy for getting more of your artwork sold. Let's go ahead and dive right in. This is where we left off where I created the square canvas. I'm going to go back to my gallery and actually work off this horizontal Canvas instead, this is the one that I like the best. So we'll go to Select, Grab that canvas, and hit "Duplicates." Hit that "X." I'm going to grab this and take it to the end of the stack. This will be my first color alteration. It's really important that I duplicated it from the original so I still have that original pallet ready to go. This one is finalized and already polished. Let's go ahead and create a color alt over here with that duplicates. The first color alt method I'm going to show you is definitely the simplest. It's simply changing that background color. It sounds like a really subtle move, but it can make a big impact overall. To do that, I'm going to go over here to my layers, tap that background color, and now just play around in real-time and see what other colors are looking like for this Canvas. That yellow is actually pretty nice. You can scrub along your hue spectrum over here to get a pretty broad idea of different color palettes. I'm liking that mint. When you find a hue that you're resonating with, you can come over here and play with the depth and the lightness of that hue itself. One thing I'm liking over here is this mint green palette. I think that looks really nice. Maybe a little bit darker and more desaturated. That looks awesome. But before all is said and done, I'm actually going to go through and change the color of the outline to match this new mint background. If I go to my layers, the good news is that outline is on its own separate layer. I can make changes to this without affecting any of those fill colors. That is the power of keeping layers separated. We'll go ahead and select my outline layer. Go over here to my color picker. Grab that mint from the background to sample. Double-check that it's changed over here in my colors. Now I can grab that mint, drag it into my outline, scrub it all the way to the right so that threshold goes to 100 to fill in all of the outlines on my entire illustration and this is how it looks. Pretty cool. I could even create multiple color alt just by changing the background and the line work color itself. So I encourage you to go ahead and explore that if you'd like to try some more options. But in the meantime, I'm going to show you another way that I alter my color palettes for my final illustration. So I'll go back to my gallery. I'm going to change this to mint to represent that new color palette name. I'll hit "Select", grab that final horizontal piece, duplicate, hit the X, and grab that duplicate and bring it to the end of the stack. I'll open up this new guy. For this one, I'll show you how you can spot edit colors to have even more precision with how your color palette is created. I'm going to go over here to my palettes and look for another palette from this class. When I really like is this apricot palette here. I'll go ahead, set it as my default and I'm going to replace these colors with the colors from the apricot palette. I'll go to my layers and I'll start by changing the background color. I'll tap the thumbnail. Here's my apricots palette. I think I'll do this cream color background. I think that looks nice. I'll go back to my layers, make sure that my silhouette layer is selected. Go to my palettes. I'll use the darkest shade in this apricot palette, which is this D-saturated dark brown. I'll drag it into my elephant and make sure that I get all of those areas filled that are separated out. Perfect. I mean, honestly, just this looks like a really intriguing color palette. All I've done is change the background and the silhouette color but I really like how it's coming together. But I'm not going to stop here because I want to show you how you can continue to alter those spot colors. I'll go back to my layers. Let's go ahead and start with that initial fill color, the pink one right here. I've selected that layer. I'll go to my palettes and I'll use this coral red to replace the pink. I've selected the coral red. I'm just going to come over here, drag it into this color, keep my pen touching the screen and bring that color threshold up to 100 percent so it changes all of those magenta pinks across the entire Canvas that are all on the same layer. Again, right here could be a really easy place to stop because I think it looks really beautiful. But I'm going to go ahead and keep going and finish flushing it out with that apricot pallets. Next step in my layers, I'll select the yellow from that first color palette I did. Go back to my palettes and the yellow, I'm going to replace with this lighter peachy red. I'll drag it in and swipe all the way to the right so that that color threshold fills at 100 percent and all of the yellows on this layer have now replaced with this peachier lighter red. Cool. Let's go ahead and do the next color layer, which is that tangerine orange. That layer is selected. I'll go to my apricot palette, and I'll replace this one with this really light peach tone. I'll drag it into my fill color, color threshold to 100%, and fill it in. Last but not least, let's go ahead and get those leaves. I've selected that layer. I'll go to my palettes and I'll fill those leaves in with this warmer caramel brown. Excellence. I could leave the outline as white because it's very striking. But let's go ahead and see what happens if I change it to that same background color. My outline layer is selected. I'll zoom in a little bit so it's easier to drop in and drop it in across the entire canvas. This is really nice. It feels like a nice Bohemian vintage palette with these really earthy warm tones against this cream background. Just like that, I've taken my original palette and turned it into this brand-new color alteration using one of those new palettes that I created for this class. You can literally go through all of the palettes I'm giving away for this class and use spot color editing to infuse those pallets into new types of color alterations. But in the meantime, I'm going to go ahead and show you the third way that you can edit your colors right here in Procreate. I'll go back to my gallery, select, grab that original, duplicate it, hit the X, and bring this guy to the end of my stack and open it up. In my layers, I can go through each individual color fill layer. Here I'll start with that pink magenta. Go up to my magic wand. Select Hue, Saturation, Brightness. In real-time, I can see what that color looks like if I change the hue of the color or the saturation. Really bright, really desaturated even the brightness and darkness of the colors themselves. For this one, maybe I'll do this nice cornflower blue. I'll go back to my layers, select the yellow layer, and then do the same thing. I'll go up to my magic wand, hue, saturation, and brightness. Let's see what it looks like if I change all of those yellows maybe to a nice desaturated minty green. That's fun. Next, I'll go to the orange Magic Wand, hue, saturation, and brightness, and maybe these become like an olive green. That's nice. Last but not least, I'll grab those leaves, magic wand, hue, saturation, and brightness, and play around until I find a tone that I think is working really well. That's nice to have some more desaturated leaves that allow those flower petals to really pop. Last but not least, I'll select my silhouette magic wand, hue, saturation, and brightness and play around with some different hues. Maybe this one becomes a really deep forest green to reinforce this analogous color palettes. Last but not least, I'll tap my background color. Maybe skew the spectrum over to something more green. Play around and see what's working well. Having it on this blue background is really nice. In this one, just to mix it up from the others, I'm going to keep the white outlines, not change it to the background color, but allow that white to really pop those florals right off the design. This is my third color palette alts. Now I'll show you the fourth technique that I use in Procreate to play with color palettes. I'll go back to my gallery, hit "Select", grab that original, duplicate it, hit the X, bring that guy to the end of the stack, and open it up. Now, I'll go over here to my layers, merge all four of my fill layers together so they're now on one layer like this. Now with that layer selected, I'm going to go over here to my magic wand and select Gradient Map. This is where procreate has these built-in gradients so you can literally just toggle through and see what different presets look like for your existing color palette. This is a really fun way to just get a quick idea of how other colors are looking on your illustration. The one I like best for my existing colors is Venice, I think it's really nice to have those blush and pink tones all look homogenous across the palate. Now I can go back to my layers, tap that silhouette layer, go to my hue and saturation and see what it looks like in real-time as I adjust this color palette, maybe becomes a lot lighter. That's fun right there. It feels like a nice pastel galaxy palette. I'll go back to my layers, hit my background color and maybe it's sitting on this really dark indigo palette. That's cool. This is something that I can play around with for ages, but I'm going to go ahead and stop now, now that you've learned those four unique methods for altering color palettes in procreate. For every design I create, I typically have between 5-10 different color palettes out of that original design. I encourage you to continue exploring to your heart's content. Next up, I'll show you how you can infuse some metallic and glitter accents right into your illustration. 17. Metallics: Now it's time for glitter. So infusing metallic and glitter accents into your artwork is one of the most effective ways to add some intrigue and elegance right into your design. I'm going to show you how you can create some really stunning golden glitter embellishments right here into our animal floral silhouettes. So go ahead and make sure that you have that in metallic glitter texture imported into the camera roll of your iPad, because that's what we're going to be using for this lesson. Let's go ahead and add some glam right into our artwork. This is where I left off with that final color art. I'm going to go back to my gallery, and before I go any further, I'm going to go ahead, rename these color arts just to stay a little bit more organized. I'll start with that original, which I'm actually going to grab and bring over here. I'm going to tap where it says horizontal and rename this rainbow nectar because that's the name of the color palette I used for this artwork. I'll press Done and do the same for the others. So I've already named that other one mint that's ready to go. This guy right here, I'll tap it and call it apricots because that's the name of the palette I used. For this one, I'll just call it green. The last one I did, I'll call indigo. That just helps me stay a little bit more organized with these file names. Plus when I save and export these later, those will be the file names in place, which just helps me stay organized. So I'm going to go ahead, hit Select, grab that original rainbow nectar palette and hit duplicate. Hit that X, and grab this new one all the way to the end of the stack. This is the one that'll be infusing with those gold accents. So before we get started, I'm just going to call this glitter. So I don't have to do it later. All right, I'll open up that duplicate, go over to my layers, and this is where we left off with that original artwork. So we had all of those fill colors on separate layers, we have the outline layer on a separate layer as well. And it was nice and organized over here in our layer stack. So the first thing I'm going to do is grab all of these fill layers and merge them together into one layer. I did that by pinching them altogether. So at this point, we have our outline layer our fill colors all merged into one layer, and then that animal silhouette layer all on its own. Plus we have our backgrounds. This is what your layers panel should look like right now. Now it's time to bring in that glitter texture. So we'll go back to my [inaudible] under add, I'm going to insert a photo, and note here that I did not insert a private photo. I did not swipe left and do private. I went ahead and just inserted a photo because unlike those reference photos which we wanted to stay hidden, this gold glitter texture, we want to show up in our artwork. So normal photo, not private. So I have my gold texture right here, it's in my recent album by the way, if you're having trouble finding it in your normal photo album, go ahead and look in your recent album because that's where all of your imports will show up. I'll go ahead, tap that and then size it to fit in my art board. I'll press the arrow to set the transformation. So this original gold texture is a massive file. It's 40 by 40 inches at 300 DPI. You can scale it up on your board without worrying about getting blurry. All right, so this is what it looks like. It's actually cool to see that glitter texture as the background for that elephants. But I want to do something slightly different. So I'll go over here to my layers, and your gold texture may have dropped in at a slightly different place on your layers panel depending on what layer was selected when you imported the photo. No worries. Just go ahead, grab that gold and bring it up to the very top of your stack. If for any reason your clipping masks got de-selected, go ahead, click those layers and turn them back on for your outline layer and your fill colors. Sometimes those get disabled when you bring new photos and no worries, you can just turn it back on. So at the very tip top of my stack, I have my gold texture. Right now. It has that clipping mask automatically applied, so it's covering up my entire elephants. I can actually tap that and turn off the mask and then see how that gold looks on my entire art board. So this is not what I want my illustration to look like. What I want instead is for the gold to replace the line work here of all of the white lines on this layer. So that's what I'm going to show you how to do. So with that outline layer selected, I'm going to tap it and hit Select. So now all of the lines of this entire layer have been selected. I'll go down here and tap Invert, go back to my layers, select my gold layer, turn on the visibility, and then take three fingers, swipe down and hit cuts. Awesome. So what that's done, you can see over here in your layers panel that big rectangle of gold has now been cut. So it's the exact same as this white fill layer beneath it. So at this point, I can go ahead, swipe left, hit, delete, and get rid of that outline layer. I'm replacing it with this gold texture. Let's go ahead, tap that layer, put a clipping mask on it. So just like the original outline, it's clipped behind that elephant silhouette. Cool. So this is looking really lovely. If you zoom in, you can see those really nice details within that gold texture. It's literally just scanned in glitter that I scanned into my computer at a really high resolution. So yeah, that looks awesome. So I'm going to show you one of my favorite things to do with gold glitter texture and illustrations like this. So we'll go back to my layers and I'm going to hide the visibility of my fill layer. So that right now it's just the outline and that animal silhouettes. This feels so refined and sophisticated. Even just removing those colors creates an entirely new color palette for this illustration, and it really feels elegant that I'm going to show you how to take it a step further. In my layers, I want to make sure that that gold outline layer is selected. It's blue. We'll go up here to my magic wand, and under hue, saturation and brightness, I'm actually going to bring down the saturation. So it's more of a champagne gold. If I bring it all the way up, it gets really yellow orange, all the way down, it becomes silver. But if I bring it down ever so slightly, originally it was at 50. But if I bring it down to around 30, it's this really nice desaturated gold that has a nice champagne feel to it. By the way, when you're here, you can also play around with the hue of that gold. So you're not just stuck with only gold. You can make it more of a rose gold if you'd like to. You can even make it magenta blue, literally any color of the rainbow. So just with that one glitter texture, you have infinite color possibilities. But I'm going to bring that back to 50 percent. And that saturation, like I mentioned, I'm going to bring down to around 30 percent. So it's slightly desaturated from the original. I'll hit the magic wand to set the transformation and voila. I'll go back to my palettes, tap that original silhouette fill layer, go back to my magic wand, hue, saturation and brightness and bring it up. So it's a little bit more navy and a little bit less teal. So let's see. Maybe make it ever so slightly darker. Cool. I think that looks really nice. A really deep navy blue with this champagne gold glitter outline. I'll hit my magic wand, here we have it. One of my favorite color combinations when it comes to infusing metallics. There's just something really nice and sophisticated with that cream background and then that navy and champagne gold interacting together. So out of all of the color palettes I've created so far, this one is definitely the most refined. Love it. I'm going to keep it right there. I'll go back to my gallery. I'll change the name to navy and gold. Hit Select, grab that navy and gold, duplicate it. Hit that X, open up the new one, and now you can go back to your layers. Turn that original fill color back on like this, and now is a good opportunity to play around and try even more things with that gold outline layer already intact. When it comes to gold accents, one really important thing is going to be color balance. When you look at the original color fill with these gold textures as the outlines, it looks beautiful, but there's also a lot going on. One thing I like to do when I infuse gold accents is to simplify that color story a little bit so that the gold doesn't compete too much for the colors but instead, they balance in a really harmonious way. I'll show you how. Within my layers, I still have those three main layers. I have those gold lines, I have the fill colors all merged into one layer. Then I have my elephant silhouette. What I want to address here is this fill color layer. I love all of those colors. I think they're really nice, but I want to see if I can make it a little bit more harmonious with these gold outlines, there's a lot of ways you can do this, but I'm going to show you my favorite and it should look pretty familiar. With that fill layer selected, I'll go over here to my magic wand and then go to Gradient Map. Remember we already played with this earlier when we were doing color exploration. One of the really nice things about this gradient map is it keys all of those colors together that are on the same layer and makes them a little bit more homogenous with each other. Rather than having three distinct colors, by going through in this gradient library, it keys them together into a really similar palette. So what I'm doing is going through and finding what I think could be a really nice balance against this gold. Some some these are looking really nice. Wow, noir that actually might be the winner. This one is actually working really well. The reason it's working well is because having that really dark crimson blood red next to that gold really helps that gold pop. That gold is bright and light. It's literally shimmering in those outlines. Having a really dark and deep color really helps with that gold. I encourage you to go through play with some of these different presets, find one that you like. But for me, noir is definitely going to be the winner here but I'm not done yet. I'll go ahead tap my magic wand to set that color change. Now what I'd like to do is go over here to my layers, tap that elephant layer, and play around with the color here so that it balances a little bit better against these gold outlines and this deep crimson fill color on the flowers. I have a hunch that's going be be a lighter silhouette, but we'll see. With that layer selected, I'm going to go back over here to my magic wand. Hue, saturation and brightness and I'm going to bring up that brightness. Maybe even up here to like 75, 76 percent. Yeah, that's really nice. What that's done is allowed those really deep crimson floral fills to sink into the illustration. Then these gold textures with metallics on the outlines are popping in a way that almost looks three-dimensional. That's really nice. Maybe I'll just bring down the saturation slightly to make it a little bit more elegant and have it skew a little bit more of a minty green so that it complements those deep crimson tones. Yeah, I think this is looking really nice. By the way, one of the reasons that I love utilizing this hue, saturation and brightness tool is because it allows me to see in real-time what those color changes are looking like. You can always go over here, fill in colors as you go and that definitely works as well. But when you go into hue, saturation and brightness, you can see the changes you make in real time, which is pretty cool. That looks set. I'll go ahead, go back to my layers, and the final thing I'd like to address here is going to be that background color. I'll tap it, and I think I want to go really dark with this one. Maybe like a really nice deep desaturated brown, that's cool and interesting. Maybe we bring more saturation in. Yeah, this is nice. Whenever you add browns or neutrals like this, it can tend to make your color palette feel a little bit more sophisticated. As a general rule of thumb, with illustration, the more neutrals and tone down the colors are, the more sophisticated and mature the palate feels whereas the more bright and colorful and vibrant colors give that color story more of a youthful, energetic vibe. These are both great options. It just depends on what vibe you're looking for, for your illustration. But when it comes to color palettes, of course I like creating a million, so I'm able to get both of those. I have the fun vibrant palettes, and then I'll have the more sophisticated mature palettes as well. This brown is looking pretty cool. But one thing I want to see also is if I scrub along this hue spectrum and get to a really nice deep teal that I think is looking really good. One thing I'm liking about this teal is that it feels really harmonious with the color palette. This teal is literally just a darker version of that original silhouette. We're keeping the color story here very simple and minimal. Plus having a sort background, plays nicely against these crimson florals. Because red and green are complimentary colors on the color wheel. Any iteration of that, whether it's maroon and teal or mint and blush, are going to look really nice as a color story together. This is where I've netted out. I could go through and change the color of this gold. But I actually really like where it's at right now. I think it feels really nice and sophisticated, and I think this might actually be my favorite pallets so far of all of the ones we've created. At this point, I encourage you to play around a little bit, see if you find any more fun color surprises as you're working with this gold texture and playing with the other colors in your palette as well. But at this point, we've gone ahead and created our final illustration and all of those gorgeous color alts that come along with it. Next up, I'm going to show you the exact steps that I take when I save and export my final illustrations from procreate to be the highest resolution best quality images imaginable. Let's get started. 18. Saving: [MUSIC] Now that we've finished all of these gorgeous iterations of our artwork, it's time to get these babies off our iPad and out into the world. I'm going to walk you through three basic save and export settings that I use for Procreate artwork, starting with the most basic JPEG. Here is my completed stack. I'm going to go ahead and open up that original final artwork, that rainbow nectar palette and start here. Something I want to point out real quick, if you go over to your Wrench under Canvas, Crop and Resize, you can go over here to your settings and see all of the dimensions of your art board. This one right here, 35-and-a-half by 21 is just about the largest Canvas size that I can get in Procreate. Your numbers are probably going to look a little bit different depending on how you cropped it. My DPI is 300, which is absolutely perfect, so this is just a quick sample to show you that when we save our file, it will save in these exact same settings. When we export as a JPEG and a PNG, this will be the size of our export, no larger and no less. I'll click ''Cancel.'' Let's get to saving. I'll go to my Wrench, and under the Share menu, these are the options for how you can export and save your final artwork. Like I mentioned, I'm going to start right here with JPEG. What I usually do is just AirDrop it straight to my computer and save it there. You can also select ''Save Image'', and that will save it to your iPad camera roll. But like I mentioned, I usually just AirDrop it straight to my computer. When I save as a JPEG, that means that that JPEG flattens my entire illustration into one layer. If you go over here to your layers, you'll see everything in place. But when you save as a JPEG, if you were to open this backup in Procreate, it would all just be one layer. You wouldn't have all of these individual guys over here. This will always be here for you. You can open it back up at anytime, go to your layers, make adjustments, and when you export that as a JPEG, you're just making a copy of it that's completely flattens. That JPEG is going to be the exact same size dimensions, DPI, color profile as this original artwork, which is fabulous. Why do we save as a JPEG? It's because JPEGs are the most universal file type for images. You can attach JPEGs and emails, upload them to your website, share them on Instagram and Facebook. You can send a JPEG to your local printer if you want to turn this into an art print for your home, and you can also upload JPEGs to print-on-demand websites like Society 6, Redbubble, Contralto, Spoonflower, all of those guys. I use JPEGs for literally all of the above. JPEGs are the most versatile file type out there for any image. I pretty much save a JPEG for everything I'm going to do with this artwork in most cases. The other case is the PNG. JPEGs work across the board for most things, but what about those cases where you want this background to be removed and be transparent? This is important for things like maybe printing on a t-shirt or a sticker, or you don't necessarily want that background in place. This is the time for the second file type I save as, which is a PNG. Before we get into the benefits of PNGs, I'm going to show you how to save it. Over here in my layers, I'm going to go down here and toggle off the visibility of my background layer. Now it looks like it's all black, you You see this checkered pattern coming through, that's just Procreate's way of indicating a transparent background. With that background layer toggled off, it's no longer visible, I'll go back up here to my Wrench under Share, tap "PNG". Same as before, I usually just AirDrop it straight to my computer. But you can also save it to your iPad as well. Why did I just turn off my background and save it as a PNG? Because PNGs will recognize that transparent background. If I have this background off and I go to Export and I export it as a JPEG, that's simply just going to export with a white background. JPEGs don't recognize when you have nothing in place there, they'll just fill it with white. If you want a true transparent background, this elephant completely silhouetted against nothing, that's where PNGs are important. One thing I want to point out here, when you save as a PNG like that, it's really important that you turn off the visibility of that background and then export it. If that background is in place, and I save this as a PNG now, it's just going to look the exact same as a JPEG with that background in place. Don't forget to turn off the visibility and then save it as a PNG. Transparent backgrounds come in handy for all things. If I want to upload my animal on Society 6 and sell it as t-shirts, I don't want that white background in place, I want it to just be the animal with nothing behind it except the fabric. That PNG file comes in handy for everything where I don't want a background in place. Apparel, kiss-cut stickers, transparent phone cases, anything where you don't want the background in place, use the PNG. For pretty much everything else, use the JPEG. My brand logo is also a PNG, so it looks like this if I drop it up here on screen, but if my logo were a JPEG, this is what it would look like. You would see that background in place. That's essentially the big difference. JPEGs, flattened artwork, background in place. PNGs, exact same thing as JPEG pretty much, except you don't have that background there. I think I've hammered that in. Those are the two main file types I save as. Let's go ahead and do the third. I'll put my background back on. I will go back up here to my wrench. The final way that I export my image is as a PSD file, that is a Photoshop file. One thing I want to point out here, the reason I do that is because I always bring my final Procreate artwork into Photoshop to polish it up and finish it. Everything we did here with those color olds and fusing texture, things like that, I actually don't usually do that in Procreate, I do it in Photoshop instead. Because I can keep everything in the same file and just organize my layers better. But remember with Procreate, you have a few more restrictions when it comes to things like how large the canvas can be and the allotted layer size. I save as a PSD because I always finish out my artwork in Photoshop. But if you don't do that, that's completely fine. In that case, I would export it as a procreate file. What that means is when you export as a Procreate file, it's going to take that exact same file you created, layers and everything, and you can save it in another location. You won't be able to open it in anything else other than Procreate, but it's still a really good idea to export that procreate file and save it so that you have it backed up in one other location or more hopefully. It's really important to backup your work and by exporting your procreate file and saving it elsewhere, maybe to your computer or to Dropbox or another Cloud service, you're ensuring that if your iPad crashes or Procreate crumbles or something terrible happens, you will always have a backup of your original artwork file saved somewhere else. For cases like that, go ahead, save it as a Procreate file anywhere else. But for me, I usually skip that because I'm saving it as a PSD, which also retains all of those layers. Those are the main file types, JPEG, PNG, and then PSD if you use Photoshop or Procreate file. If you don't, just have it backed up in another location. The last one, which is the most fun, is the time-lapse replay. This is a really cool tool that Procreate has built into it. It's remembered every single brushstroke that we've done for this entire illustration, and it compresses everything at the very end into a time-lapse replay, essentially like a faster version of the work we just did. Let me show you what that looks like. We'll go back to my Wrench, under Video, you can see Time-lapse Replay. If you tap that, you'll see every single step of the way of our illustration. One important thing I want to point out here, you're not seeing these reference photos. You didn't see the elephants, you're not seeing the flowers, you're just seeing my line work as I trace it, and that's because earlier we imported our reference photos as private photos. This is exactly why that's important. Now, our video is 100 percent our own artwork with no reference to tracing insight. That's pretty cool. As you can see, my time-lapse replay, it's about halfway through, so it looks like it'll probably be around two minutes. We don't have to watch the whole thing, I'll pres "Done". Let me show you how I export it though. Under the Wrench, under Video, we have this option to Export time-lapse video, and you have two options here. I almost always go with 30 seconds because that is going to be the best length for sharing on social media. Time-lapse replays are really powerful content to share on social media. When I share on social media, I always share that 30 second time-lapse replay, and it always gets a ton of traction. As we all know, video content is insanely popular right now. Time-lapse replays like this are a really great way to share your illustration and get a lot of engagement as you do so. On Instagram, I generally get higher engagement from time-lapse replays than I do with still images or JPEGs, although I do post both. Now that we've got all the heavy lifting out of the way, I've got a few final value bombs to share with you, so let's chat next steps. 19. Next Steps: [MUSIC] First of all, thank you so much for joining me today to create these animal floral silhouettes, and congratulations on your final illustration! I was new to Procreate in 2019, and it was pretty tough for me to learn a brand-new program. Trust me, I understand how big of a deal it is to have made it this far. It's a lot of work. I'm always so happy to share my knowledge with other creatives and help you succeed as well. Speaking of final artwork, I would love to see what you illustrated today. Under this class, you'll see the Student Project Gallery. It's under the "Projects and Resources" tab. This is where you can share your class project. Just a heads up, the best way to share your work is just to grab a screenshot like that right here in Procreate. We worked on a pretty giant canvas today, so if you try to export as a JPEG and share that, the file size might be a little bit too big. But screenshots will compress it and make it tiny, which is perfect for sharing on Skillshare. Here is how to share your work. On the right, you'll see a green button that says "Create Project". Tap that. Once you're there, you'll have the option to upload a cover photo, add a title, and write a little description. You can include both text and images here. I'd love to see your progress too, so please feel free to also grab some screenshots of your progress all along the way. Starting sketch, color palette studies, final artwork, and your color alterations, all that good stuff. Once your project is uploaded, it will appear in the Student Project Gallery. You can view other projects here, and I definitely encourage you to like and comment on other students' work as well. If you'd like to share your work on Instagram, which you definitely should, please tag me @catcoq and Skillshare @skillshare. That way we can like and comment on your work there as well. Bonus, from time to time I decided to highlight student work in my email newsletters. There's always a chance that your project could be featured there as well. Speaking of emails, if you'd like to get an email heads-up as soon as I launch my next class, please don't forget to click that follow button up top to follow me on Skillshare and be the first in the loop. Not only will you be the first to know as soon as my next class comes out, but I also frequently send out messages to my Skillshare followers and they're packed with useful tips, freebies and artist resources, and the occasional free Skillshare membership giveaway. These perks are for my Skillshare followers only. You can also follow me on Instagram @catcoq to see new artwork I'm creating and where in the world I'm living at the moment. Right now I'm at my apartment in Chiang Mai, Thailand. I was in Vietnam last month and Switzerland the month before, so I'm pretty much all over the place. I've been living as a digital nomad artist for the better part of the last seven years, so life is a complete whirlwind of an adventure. If you want to learn more about this artist and travel lifestyle, I have a lot of interviews uploaded on my YouTube channel. That's where I dive in how I make this lifestyle work, tips for other creatives, and a lot of the lessons that I've learned all along the way. My YouTube channel is CatCoq, just like my Instagram, Facebook, all my social channels, email, website, everything: CatCoq. I'm popping a link to my YouTube channel and everything else down below in the class description. Last thing today, I have a few other classes that I'd like to recommend. They go into a little bit more detail for things that we learned today and all of these classes are project-oriented. This means that you'll have even more cool illustrations when you watch and learn. Blooms and Shrooms: Draw Fun and Funky art in Procreate. This is one of my most popular Procreate classes out there. If you haven't already watched it, it is a super fun class where you learn how to illustrate one of the most on-trend motifs today: Mushrooms and Flowers. I have my Mushroom and Flower artwork licensed through brands like Target, Anthropologie, Bed Bath and Beyond, and more. This class is all about leveraging current trends and creating artwork that's going to sell well. Next up, if you want to learn how to take your animal silhouette illustration from today and turn it into a seamless pattern, I have two different classes available: one in Photoshop and the other in Procreate. The Procreate pattern class is called Drawing Seamless Patterns in Procreate Plus Professional Surface Design Tips. That's another beginner-friendly class, so if you've made it through this one, you'll be able to follow along with that one just fine. My other seamless pattern class is in Photoshop. it's called Watercolor a Seamless Pattern: Surface Design in Adobe Photoshop for Print-On-Demand. Don't let the watercolor part keep you out. This pattern class is for all non-vector artwork, including your Procreate illustrations. If you want to use your animal artwork from this class, you can skip ahead to the second portion of that class which is arranging your individual elements into patterns using Photoshop's Pattern Preview tool. The end of that class even shows you how you can upload your designs to print-on-demand sites like Society6 and Redbubble so you can start earning income from your artwork. One more Procreate class to recommend: Draw Your Dream Home in Procreate is another favorite. You'll learn how to trace photos to create your very own dream home design. This class makes a great gift if a friend or family member recently moved and you want to create a homemade illustration of their new home. If you enjoyed my class today, please leave a review even if it's short and sweet. I really love reading through these reviews to hear about what you liked about my class. These reviews also help my classes get more traction here on Skillshare. I really appreciate your support. Thank you in advance, you rock. Well, that is a wrap for today. Thank you so much for joining me in this animal silhouette journey. I'm looking forward to seeing your illustrations. Happy uploading and I will see you in my next class. Take care.