Transcripts
1. Introduction: Welcome to this class on creating moths in
a folk Art style. In Procreate on your iPad. You're going to learn a variety of techniques in this class to bring impact to your
artwork through symmetry, balanced compositions, and
unique color palettes. Throughout the class,
you're going to learn to capture unique character
while I guide you through essential techniques and tricks in Procreate
that are even suitable for beginners to
come along the ride with us. Going to enable you to achieve unique stylistic elements like perfect symmetry elements
to feed into depth, and then choosing hues with
precision and harmonizing your color scheme with
the vibe that you are wanting to present in
your illustration. My name is Peggy Dean. I am an artist,
author, an educator. And my favorite thing
in the world is to bring these Fun projects
and education to you all. And in addition to
these core techniques, this class covers various
other valuable skills in Procreate that will help
you master the program. And by the end of the course, you'll be able to use
your knowledge and tools to create visually captivating, symmetrical illustrations, showcase your
colorful creativity. So without further ado, let's jump in and play
2. Set Up Your Canvas in Procreate: Alright, so we're
going to start by creating a square canvas. And I'm going to hit
the basics quickly. So I'm not gonna do a deep dive, but I will give you
enough to where you can follow along easily
if you're not super familiar just yet. So I'm going to create
a square Canvas. There is one that standard
that comes with Procreate. You can also create your own
by going to this icon here, tapping and creating the
width you can choose inches, centimeters,
millimeters, and pixels, I typically just keep it in pixels will sometimes
I'll go to inches, but I'll create a
canvas 3,000 by 3,000. And I wanna show
you what that does. Have a larger
storage and my iPad, but it's still only
giving me 55 layers. And while that might
seem like a lot, when you get into
clipping masks and all those extra to Zazi things, you're going to notice
that you will need those. So if you have a
smaller storage iPad, this number is going to look
a little bit different. Probably smaller. So if that's the case, you can go to 1,500 by 1,500, and you'll see that the maximum
layers jumped up to 234. The DPI is set to 300 DPI. You wanna make sure
that that's higher if you plan on printing anything. So 300 would be the minimum
that I would do there. I'm going to let's
go to 2000 by 2000, and that should be pretty good across the
board for everybody. That gives me 130 layers. And then I can say
create, but before that, I can rename this Canvas just by tapping on untitled canvas. And I'll say 2000 by 2000. And I always like to just triple check that I know
through 300 DPI. And when I say create, if I go back, let me just show
you what that looks like. When I want to
create a new canvas, I'll find that at the bottom, 2000s by 2,300 DPI. And I can move this
wherever I want it to go. If I want that to be
up toward the top, then I'll see it's under square
and I can just tap that. See new layer or excuse me, Canvas and it'll open up
3. Sketch Your Moth Using the Symmetry Tool: Okay, We're going to create
a symmetrical illustration, which means that we're going to be using our Symmetry tool. I'm gonna go to my
wrench icon here. I'm going to go to my Canvas and then I'm going
to turn Drawing Guide on. You will see a grid appear. We're going to edit
that Drawing Guide. If you miss that, you'll
go to the wrench icon, canvas drawing guide,
edit drawing guide. And then you'll see 2D grid, isometric perspective
and symmetry. And we're going to tap Symmetry. And that's it. You can change
the color of this line. You can change the opacity, the thickness, all
bump up the thickness. So you can see on my
screen a little better. I'll also bump up the
opacity and I'll turn my color onto like pink
so it's easier to see. Although I think I'm going
to be working in some pink, so I'll go to this blue color. Then I'll say done. Now you
can see that this is here. There's one thing to note. You can see that now
when I draw on one side, it's going to mirror
on the other side. But let's say I want
to create a new layer. To go to that layers panel. You'll these two
squares up here, Layers panel and then I'll just add with the plus sign Zc. There's that new layer here. You'll see that layer one has this underneath says assisted, layer two does not. So if I'm on layer two, even though I have
the symmetry tool on, it's only going to
draw on one side. You'll want to go to
that layer, tap it, and then also select
Drawing Assist. And now you see it says assisted and now it
will go on both sides. So getting that out now, because you will be frustrated if you
run into that later. So we're gonna
start by just doing a simple sketch and you don't have to
start with a sketch. I just find that it's nice to do placement
a little easier. So and then you can
finish everything off. Real nice afterwards. I'm just going to select my pigeon Brush under
the vintage Texture, which is the brush set
will be using if you don't have this Texture set yet, I've linked it for you. Otherwise, you can
just use any standard Procreate brushes that you can, you have access to. But I'm just using
the pigeon pencil, kinda similar to the six B. It's a little grittier
and I'm going to select a red color just for my sketch so I can
just really see it. And I'm just going to
start with my Moth. And I know that I want that
to be the center focus. And I think I want my shape
to be a little droopy. So you can do it obviously like, you know where it
comes out like this. That's more butterfly
as you can do a Moth that's more like this. Links there. I'm gonna do more of a droopy guy with
a little body, big wings. And then from here I can bring its little body
all the way down. I like how skinny isn't weird. Then I will create
its first wing and I kinda want it to be just a
smidge longer than its body. That seems good.
Maybe a little wider. Kinda like how skinny that
was. Sketch that part. And then I think I
could do a second set. But I think I just liked
the way that this looks. So make that lighter. I'm
going to stick with that. And then I can create a
little antenna and tennis. And ten a. I'm going to make this a little
skinnier down here. Okay, That looks good
to me and I actually am going to shrink it down a little bit so that it takes
up a little less space. And one of the reasons why I
like to do a sketch first, I never used to be this way, but the reason I like to now is because I find that I'll draw either too
small or too large. And then when I
want to reshape it, every time that you
re-size on Procreate, it loses some quality. So going down is always
easier than going up. But even so, every
single time you re-size, it's losing quality and getting more blurry
and pixelated. So I can resize my
draft all I want to. And that's not going to hurt
anything, which is great. When you select your item, you have to be on the
layer you want to select. I'm going to tap my arrow
tool that selects everything. It's on a uniform right now. So that means if I
drag anywhere on any of these anchor points, so they're called
nodules, nodes. It will shrink together
and it won't distort. Whereas if it was on free form, let's say I wanted
it to be shorter. I can do that on free form. So I'm going to have uniform on because I like
the shape of it. I just want it to
be a little bit more or take up less space. You'll also see
these grid snapping. That's tastes center things. So if I was to drag it, you can see where that yellow line across the
middle and then the yellow line in the
center, top to bottom. Basically that crosshair
helps you with centering
4. Draw Botanicals in a Structured Composition: Now that I have this done,
I just want to throw in some leaves and some
flowers for some filler. And I want to use the Symmetry Tool to my
benefit for that as well. So I'm going to, you could definitely
draw off the edges. I'm not going to because
I just want it to be more like Contained, I guess. Yeah. Okay. So I'm not sure
what's happening here, but that's gonna be a leaf. And I think I'll
go on one side and everything you do
on one side will happen on the other
with the Symmetry Tool, which makes things
nice and easy. And I think that I will just start drawing some
lines like this. And I kinda just have them flow. So I have that center one. You can see it curves up. You can also have one that
curves up and under like this. Then I just kinda have
everything coming off of that point or near it. So I can have something
come and loop this way. Although I think I don't think I liked that because it
feels like a hard stop. So maybe I'll put a
floral, floral LMA here. So you can see this
is just a sketch. I'm not I'm not sure
sure that I liked that. I don't want something so forms. There we go. I
liked that better. Okay, So these are
just blobs for now, but just like a placeholder. So I know that flowers
are going to go here. And then I can do the same thing down here and want
something in the center, something small, and then
maybe some leaves coming off of that for like
an anchor point. And then bring something
out here, like a flower. You can, you can sketch these
as detailed as you want. But just to get started, I just, I kinda just draw circles in places that I think
needs to be filled. So let's That's how I structure it and it makes
it makes it easier for me. And then when I
actually draw it, that's where I can
pay attention to those details that
I want to include. I'm gonna do some leaves
in the background here. That's to Up and down. But you can see it's
just filling basically. It's like, well, what's
missing and what can we add and how can we add
some more interest and what's gonna be too much
and what's not going to be enough as far as Detail goes. And I find that as we draw, we start to figure
out like, Okay, Hold that needed more of this and that needed more of this. And then once you
have that in place, I don't really worry too much about all the little fillers
because I end up doing like little dots like this
throughout and we'll do that at the end
because they're not necessary to draw in. So we have our sketch. We're not really sure
what it means yet, but we're gonna get into it. And I find like the
organic process of building something like this. As always, I don't know, I just find it to be
a lot more rewarding than having everything
so, so planned out. So let's do that
5. Choose Your Color Palette: I keep my sketch layer
at a 50% opacity. So to do that, you're gonna
go to your Layers panel. There's a little end right here. You're going to tap
that's representative of representative,
representative, sure. Of the blend mode and we're
going to keep it at normal, but this is our opacity slider, so we can drag it down to zero. Lets us still see everything. Now I'm going to
create a new layer, and this is my working layer. This is where I start to add my color and this is going to be the final, beautiful
finished deal. Now it's something to
note about this is, it's up to you whether
you want to work on top of your sketch
layer or underneath it. If you work underneath it, you want to drag that
layer underneath. And then I'll change the
color and just show you, I'm gonna go to the
vintage mono line that's in the same vintage
Texture Brush Set. Again, it's linked below, but you can use
anything you want, regular mono line and you textured brush,
whatever you feel like. And I'm going to show you. So if I come along
here, two things. One, I still see my sketch
layer just on top of it. So that's gonna be helpful
for guiding me as I continue. If it was on top, it would just hide it, which that's fine too, but I like to see
my sketch layer. The other thing I
should mention is notice it didn't show
up on the other side. So remember, when I
said that you want to, any new layers you want to
tap and say Drawing Assist. And that is going to ensure that you are indeed
drawing on both sides. And now the same will
go for Color Fill. So now that I have my wings in, if I drag that color
down and fill, then it will fill on both sides. Even though I'm only working
on this side right here. Now I actually have a different
color palette in mind. And color palettes, I would just say to go with something
that feels Fun to you, I'm going to keep this here, but I will change the color, so I'm feeling kinda Peachy. I'm gonna go to like
an orangey red tone and then move this
around maybe more red and find a
light peachy color. And then I think I'll have the, my background be similar but
just a little bit darker. And from there, I actually, I don't like to change
the background color. I like to create a new layer, drag it below, and
then fill that layer. I feel like when
I work on layers, it lets me do things while still being
able to make changes. So something I wanted
to mention real fast. If you are not sure
about a Color and you don't want to have to
keep going in dragging, dropping, keep going
and dragging dropping. One of the ways that I
will recolor it is going into my quick menu, and you're quick menu
will be activated, however, is set up in
your settings here. So real quick, if you
go to your wrench icon here and you go to preferences, you'll see Gesture controls. From there, you can
go to quick menu. And then however this
is set up for you, that's how you will invoke it. Minds just to tap that center, which I believe is like a color picker in
its standard mode. I'm not sure, but
that's how I initiate my quick menu and then any
of these can be renamed. You could also have
more than just one. But if you tap on any of these, you will see all
of these options. You just have to tap and hold
and then go to re-color. Okay, now let me tell
you why this is cool. So when I tap it, I tap recolor, see
how it changed. That's because I have a
slightly different color. You'll see a cross
hair right here. It won't affect anything except for the layer
that you're on. And right now I'm on
the background layer. But now if I go to my color
because re-color is on, everything I do is in lifetime. So I can change this
color palette right now. And it's going to
show me right now the results which I just love. It's the easiest way
to change colors. So I would recommend
doing it that way. There's many, many
different ways to do it, but this is my favorite because
everything is right now. Okay? So now that that is done, I have those two colors setup. I typically like to stay. So see how this is
basically monochromatic. We have two different
versions of peachy colors. And I think I'm going to pull
in another one of those. So maybe I'm going to create
a new palette for this. So Palette, new
create, new Palette. And then on that new Palette,
cool, it's selected. I'm gonna grab the color I
just selected by tapping and holding and tapping in
the new Palette here, tap and hold to grab that
new swatch tap in here. I think that the third color
I want is a deeper reds. So I'm gonna hit
kind of a poppy, but just drag it down a little bit, see what
that looks like. Okay, I liked that red. So I'll put that in here. So you can see this is an
analogous monochromatic style Set Up and now I want to go
a little more analogous. And so I think I'll
pull in a purple. So I'm gonna hit purple. Drag this over here. Let's see what this
looks like with it. Yeah, I like that. I feel like I want it
a little less vibrant. Darker. Maybe
that'll work. Okay. So a purple. And then maybe just maybe I will do one
lighter shade as well. And maybe a dark burgundy because that is along
that analogous palette. So you can see how I'm
just building it based off of what I have here. And I think that's
gonna be good actually. I think I want that more purply. To replace a swatch. You can also delete just by tapping and holding
and you'll see Delete Swatch or the new
color I just selected. I can say set current
color and it replaces it. So quick little
color palette tip. I like this color palette. I'm going to see where
we can go from here. And I think I want, I think I want to actually
keep changing my mind. Color is the one thing
that I constantly, I'm just tweaking because I just have so much Fun with it. Okay. I have to make sure
I'm on the right layer. It's too dark, so I'm going to use the re-color
on just the wings. And you can see that
that's selected just Little bit darker
because I want to use, and I'll save this color
just because I want to use that lighter color toward
the outline and I'll show you what I mean when we get into shading and whatnot, but essentially have, have a few of the same
color family in here. So you can see I have
123 of the peachy colors to a bright color right
here, two purples. And then this, it's
funny how Procreate will rearrange stuff all over the place and it moves the
things you don't want to move. Okay, So basically to
standalone one deeper, this isn't even dark enough. Okay, will do this one. I'm going to L, Let
it go after this. We have two purples, three of these peachy tones, and then this red. Now I also want to grab
just a charcoal color. So I'm gonna go Not to my black, but just over into this region, it has a little tint of
the color I just grabbed, but it's kinda purpley, but I want to grab that and
that's gonna be for the body. Now, I'm going to create this on a totally
different layer. And I'm gonna do this as
much as I can because I wanted to preserve each
individual layer as its own so that I can make sure everything is
editable essentially. So remember you have to
tap and Drawing Assist on. I'm gonna draw this
little body hair. Go maybe clean that up. Just a little bit. Fun tip. If you are on your brush and you want to go and erase something, if you tap and hold the eraser, it will bring up
the same brush that you're using as
your regular brush. So that way you're not losing
that Detail on the edges. Drag and drop this color. And okay, yep, I
like how that looks. So from here, I want to
bring that size down just a little bit and give them as little
antenna and tenderness. And today, I don't want it
to be more dramatic. Yeah. So he's cute. Okay. Has heads
a little big for his body? Poor guy. Let's make him let's give them a little
bit more of a body here. I don't want to though, if you keep making
marks like this. Welcome. Welcome to my issue. Do I think I like
his body skinnier? So what I'll do is I'll
shrink has had a little, I don't really want
to do this with by selecting and making it smaller because it's going to
lose that quality. So I'm just going to
erase around the edges a little bit to make it smaller. And then I'll re-add. Make these skinnier. Ray AD is little guys
6. Your Color Foundation: Okay, So now I'll work on the flowers and
leaves around them. I want to go to that
burgundy color first. And remember I'm
doing a new layer. And I'm actually going
to go underneath. One of the ways that I
like to organize is by, you can group layers. So I can tap this one's
already selected. This is his body. And I can just swipe to the right on the layer
that I want to include. And then I'll say group. And then I can collapse
that and I can rename it by tapping
and saying rename. So I can say, but
I'll just say Moth. Then this is my background. I know that I'm going to
add a new layer on top of the background and Turn
Assist on Drawing Assist. And then I can
start on my leaves. I'm still using that
vintage mono line brush. So I'm just going to create
and make this thicker. Now. I'm going to create these stems and then the leaf draw that in. And you can create your leaves. You can do them where they have a curved edge at
the tip or pointy. And pointy is like
a little witchy or I feel like and then curved
as a little more playful. That's totally up to you how
you want to approach that. I'm going to stick with a
pointier appearance here. You can see I'm not
following my lines exactly, but I'm using them as a guide. Make this thicker. I
think I want that. Yeah. Okay. And
then right here I had some leaves like
that's touching now because I went
outside my line, but I'm just using it
so that I know where primarily where this
design starts and then make this thicker
just at the bottom. Think a longer stem I
disliked to add a little bit of a Little bit of thickness
to the base of it. I just feel like it
fills in a little nicer and I'll fill these in. Oh, let me show you this tip if you didn't
know it already. So I don't know if you saw
that bar that just came up. But when you Color Fill, dragging from up here at the
Color Palette and then fill, there's this color
drop, continue filling. If you catch it in time, I'll undo drop,
continue filling. Then what this will allow you
to do is anywhere you tap, it will continue to
fill, which is nice. And then you just
select that checkmark to come out of it. Otherwise, it'll keep going. So that's handy. I'm a thick and this just
a little bit right here. Okay. Then I'll
add my leave here. And I think that there's
something going on here. Maybe what I'll do is pull. And I'll make this
one come up like this instead and then one
coming off right here, just a smaller one. And I'll thicken this bottom. And I just created a curve. I think that'll make it look nicer as far
as where it stops. You could connect these
leaves to that as well. I'm not going to I am though. I said I was going
to thicken it up. I'm gonna make it a little
thinner just because it's not the same width
as the ones below it. And that's going to bug me. That's a little better. Okay. I think I have the
staple leaves in place and now I want to add a few
more in some different tones. And I'm gonna do that actually with a color I didn't grab yet. And that's gonna be like
a contrasting color that's super desaturated. So I'm going to
create a new layer. Tap it, Drawing Assist. I'm gonna go kind of gray and opposite Color Wheel of the
peachy color into this blue. And I'm going to push it a
little bit greenish gray. Let's see, little
lighter than that. And desaturated more. Okay, That's a good one. So I'll add that to my palette. So it's here. And then I'm going to create a whole slew of new leaves,
not as many though. They're just basically
filler leaves. So I'm going to make
them real skinny. Just to add some layers, like some texture basically, because see how it's, it. It just adds that
little extra oomph without having to add
a ton of details, which is really nice. I'm always a fan
of, of doing that. Let's see, will have this one. You can draw stems for them, but you also don't
have to wait until I see how I like something
or what it needs. I'll do one here. And the top. Round that out a
little bit here. Okay. So just filling that in
and that looks okay to me. I think it's still to blue. So what I'll do is I don't
have to do a re-color. I can actually just
since the layer, the whole layer is just
these gray leaves, I'm going to tap my adjustments, which is this magic wand icon, go to hue saturation,
brightness. And I'm just going to
turn down the saturation, which is going to
D color it more. And I might think I, when I go, I don't think
that's the problem. I think I just don't like
the way the green it or the the gray is. So maybe I will
make it more green. So I'm going to bump
the saturation up and push more green, less Sache. I think that's good. It might just be too much of it. We'll see you when
everything gets added in. But for now I'll leave it. Now. This layer on top of it, I'm going to add some flowers. Now. I'll create a
Drawing Assist layer. And my flowers, I'm going to pull that purple
color that I grabbed. I'll do the darker purple first. And I'm just going to create this blob shape that I did
initially and make it softer. And then one here, they don't have to
be exactly there. Let's see, I'm overlapping. So when you overlap like that, if you did that on the same
layer as the rest of this, you would be, you wouldn't be able to
edit underneath that. Whereas right now, if I
turn this off, it's still, they're completely separate, which is still fully editable. But I still wanna
be able to overlap. So that's something
to think about. If you don't want to overlap
anything, that's fine too, because this style
of Art is really pretty when nothing
is overlapping. I might actually, now that
I say that I might do that, I'll take my eraser and
I'll just pull this off of that leaf and then
smooth out the edge. And then I'll go to
that leaf layer. And I'll just select to do that and go to my
ribbon tool right here. Select tool, just
loop around it, press the arrow key and
I drag it off the page. That's usually how I do it. You can also, I'll show you
how to do that properly. Close that selection and you
can cut it three fingers, swipe, swipe down after the selection and then you'd say cut and then it gets rid of it. Also, swiping off the
page is will work. Which is actually
a good reminder because if you were to
do any editing and you brought this over to
the side and then you de-selected and then you
wanted to bring it back, see how it cropped all that off. So you have to make
sure that everything that you're working on is on the Canvas or you will lose it. So there we go. Okay, I'm going to create some lighter flowers with
that light peach color. So new layer Drawing
Assist, light peachy color. So these ones right here
that are coming off, I'm gonna just put, I think I'll do like a
curve and then a wavy line. They don't have to be perfect, they're just enough to
add some interests. I think I want
those even smaller. Just adding interest in here. Then I'll do one here, here. And down here. I didn't do any placeholders,
but that's okay. Because like I said, this
whole thing can happen organically and it'll
do what we need. Over here. Sounds good. I like to zoom out
quite a bit so I can see how everything's
laying together. And then I'll find like
where I might want to add something else. Acrylics, something.
Maybe right here. Yeah. Okay. So I added those. I don't want too many
because I feel like it's sprinkling in a little
too much light. My and I don't I don't think that's
the vibe I'm going for. So I'm gonna go back
to my Moth layer here, the wings because
I want to bring this a little more fullness
that's not the same color. So I'm going to undo, grab
this color, bring this down. There we go. It looks filled, but remember that our
rough draft layers on. So I want to make sure that I actually get that whole thing. And I'll turn that back on so I can still see
what's happening. I think now I might be ready to just do those last little stems and then we can start
adding those effects in. So I'm gonna grab it, that lighter purple,
I'm gonna go down. Let's go in-between
these two layers. I'll turn assist on. Go to that lighter purple. I'm going to shrink my brush
size a little bit so that these stems are a
little smaller. Let's see, even
smaller than that. There we go. There
just this flowy style. You see it happens
on both sides. I don't need to do one to here. It's just already I mean, I might later well, let's see. Yeah. I think it's two
clutter-free for now, so I'm going to just leave it, but I will add to these ones. And that looks good. Somehow I got into right here, but I can just select
that and drag it off and then deselect that purple tied this and without
having to add any Up here I might later but but for now, it's a filled that works or
it's a balance that works. I think I also know
that this is done and I can see like the
added little extras, which I'll do most
of them later, but I want to bring this
over here and then just create little circles
coming off of it. And this kinda acts like, I think of it kinda like, uh, like filler spray and
flowers or almost like sometimes I'll
do this coming off of branches and they just
look like little nodules. But it just adds a
little extra interest. Okay. That's where
I'll leave that for now and now I'll go
in for Detail times. So this is where we really bring this whole thing to life.
7. Begin Defining Your Elements: So this is where we really bring this whole thing to life. I can turn off my or get
rid of even my draft layer. So that's gone now. So this is what I have and I can start adding
detail to the wings. This is something you can sketch or you can just go right in. I'm just gonna go right in. So this is my Moth layer
or my Moth groups. So I'm going to open that up, go to the top layer. At a new layer, I'm
going to grab that red. And this is where
I'm going to have some things pop and
I'm excited about it. I'm gonna go toward
the top here. And just inside I'm going
to leave a little bit of an outline so you can see
the outside of the wing. And I'm just going to
do that on both sides. So there's a little
outline, a little outline. And then I can create some
interest here and fill that. Great. I like how
this is looking already because
it's just like that unexpected pops of
color that you wouldn't really necessarily
think should go. But somehow it does. I'm gonna do that same
thing to the sunflowers. Now, there's a few things
I want to mention here. The first is, while I did
put that in my Moth layer, if I know that I'm using a flat color and I'm not
going to do anything else. I could bring that outside the Moth layer and
apply it to everything. So for example, if I want
that to be here as well, then that would make it so that all of those colors can
be on the same layer. And it would make sense. But real quick, if you ever
have to move something, you want to make sure it's the Drawing Assist doesn't
apply to selections. So you'd want to
grab both of them. I also see that I need to
fill in this color here. But I could do that where everything is on that layer and I could drag it
out of the Moth layer, it's just there.
So I can do that. But the other thing I wanted
to mention is if you have any sort of like Texture
you're putting in, if you wanted to do texture, we're going to just do
light texture in this, otherwise it would take longer. But let's go to attic
and vintage Texture. You don't have to actually just don't because it's
going to confuse you, but I just wanted to
show you something. So we're on this red
layer right here. If I wanted to add texture, let's say to the
bottom of this wing, see how it comes off. So if I was to go and turn
this into a clipping mask, what that would mean
is It's going to clip to everything on
the layer underneath it. Only. I would want that
to be above the wings, not above this body. And then I would tap it
and say clipping mask. And then you can see it clipped only to the layer underneath it. It also got rid of what was
on the flower right here. And that's because
the only thing underneath it are the wings. So that's something to
note if you do want to end up making edits to any sort of designs or
anything like that. So I'm going to undo all of this because
we can do that later. But for now, I will just do all the red on one
layer because I can also just add a
separate clipping mask. So there's a lot of ways you
can organize your layers, but I just want to plant that in your mind so that you are, you thinking about it. But there's a lot of ways
to work and destructively. And like honestly, I still find that I work
differently depending on the project or I might
want to change something up and when you know what's available to you as far
as these tricks go, it just makes life a lot easier. And so that's why I just
want you to be aware. I'm gonna put that red in
all of these little buds. I did a bad job
filling some of those, widen when I color it in. That's usually because
magnetics is on too strong, too like color quickly. See how I didn't. It's like a
magnet, so it's streamline. So if you go into your brush, I wouldn't do this to
a Brush unless you duplicate it first
because you want to preserve the
original settings. But under stabilization, CS streamlines super,
super high up. So that's just makes it
wherever you turn it down, it's going to follow
exactly what your tip does. But right here, It's
like more of a magnet. It just smooths things out. It makes it for a
smoother Drawing. Okay, that's all in
there, that looks Fun. It's bringing it to life. And now I do want to create a clipping mask on
top of these leaves. And I'm going to
keep this red color, but I'm going to make
the brush size smaller. And you can set a clipping
mask before you start drawing. I'm going to add a new
layer on top of that one. Turn on my Drawing
Assist and tap it again, turn on my clipping mask. You can see I drew
off the edge but it didn't go off the edge
because it's clipped. I'm gonna make this even smaller Actually I'm going to
grab a different brush. I'm going to use the
vintage flexible nib now, make sure that's
also small and I can press down and then lift up. So that's gonna give me
some variety in width. And it just makes things
look a little bit softer, I think let's do to Lee, which is totally,
I mean, doodling. Doodling is fine. It's
just a different style. But I wanted some
thick something and I just wanted
it to go and flow. So that's why I
changed my brush size. With the stems in the middle. I like to go with the
flow of the leaf. It just makes it look like
it has more movement. Okay? Yeah, so see
how it's just subtle. Like when you go smaller, these details are very subtle. And it just pulls and
balances the red that we added to the Moth
and to the flowers. I think I want this
to be on the top. And then I just have
these little veins. Cool. One more area. See how right now it kinda
looks like it's pointed down, but if I put this
vein and right here, then it looks like it's upright. Little tricks. That's too thick. The more, the further up, the more it looks like
it's on its side. Alright, now I want to add
the centers to these flowers. I'll finish the rest of
the leaves in a minute. But you can see what I'm
doing just a pointed out is I'm kinda building when
I when I remove that one, it didn't remove this one. I'll do that right now. There we go. I also want to
fix this spot right here. I will just select that. And if you want to select
and then go to the other one and select an add-on
to your selection. Essentially, close
that selection by tapping that
circle and you'll see that that part is the only one that doesn't
have these moving lines. I'll go to the other side. Select that one to, whoops, I didn't want that
whole thing there. Then I can close that and drag them both off
or I can three fingers down, cut and it got rid of
both of those selections. Okay. But what I'm doing
basically by showing you how I keep bouncing around. This is so that I can
build from the outside in That's letting me have control overseeing
everything from afar. So if I add these details
to this greenish gray leaf, that's not really helping me in the big picture for me
and my creative flow. I think next for me
than thing that makes the most sense is to attack
these big purple flowers.
8. Easy Depth & Detail: So I'll go to those flowers. I'll create a new layer. I'll turn Drawing Assist on. I don't need a clipping
mask because I'm not gonna be Drawing
off of that flower, but I will grab that
charcoal color. I think that's what I
want and I'm just going to turn this brush up. I just wanted to do like these, like some mark making. And I think I want to send or put this up a little higher. So same thing where
it just kinda gives, make sure to grab
the whole layer. So it just kinda gives that enough interests
to show that it is more tilted upward rather
than on the various center. But you definitely can do it on the very center
on some of these. So it's just up to you. I'm seeing that somehow
that Texture made it here. I'm going to show
you another trick. Instead of having to
go through all of my layers to figure
out where this is, where this mistake is. I can go into my, it's my actions panel. So preferences
again, and this is just toggling on
your layer select. So I'm gonna go to
gesture controls. You'll see layer select. So for me, I have it set
up to where if I tap that middle box in-between my
sliders and use my pencil, it will grab the layer
that I'm looking for. So that's how you
can set yours up. But for me, this is what it is. I tap here and I pull my Apple Pencil in
here and you can see that it looks like
it might actually be on this layer. Let's see. No, it's not. It's hard because
the pixels are so small, so we'll see if it wants to grab it. Oh, yeah. There we go. So you can see it did grab it. It's on this layer ten. If I erase there, where erasing it's so subtle, but you'll find stuff like that. You'll find a random dots
sometimes and you think like, oh gosh, where did that thing come from and
how do I get rid of it? And then if you're like, how what just
happened and you have 1 million layers open and you don't remember
where you just were. I can do that to come back to
the layer I was working on. And if there's
nothing underneath that, it'll just grab it. But otherwise, here
we go and now we're back on that layer that I want. Okay, so I'll just add
a couple more here. Yeah. And then that looks good. And I think I wanted to
add just a lighter center to hold all of this
all of these marks. I wouldn't I don't need it, but I just want to add a
little smidge more interest. So I just did overdid
that over did it there. I'll go in-between
these two layers. So just create, I
went to the purple, created a new one
that's going to sit in-between this and we want
that because otherwise, if I did it over that,
it wouldn't show up. So I'm gonna go
now to my colors, grabbed that lighter purple, and just create another
blob and then pull that in. See how that just,
it's just enough to where it adds a little
bit more something. Well, listen here. Oh, and I don't have
layer select on. Let me Drawing Assist. Let me show you
another way that you can create symmetry though
if that happens to you, I do want to turn layers
is Don and I will, but for now, I'm going to slide to the left,
duplicate this layer. Then I'm going to
select the layer, and then I can flip it. So I'm gonna flip it
horizontally down here. And then if it's on uniform
or on snapping magnetics, it will maintain its spot. And I can just
slide it over like this and it snaps into place. So that's really helpful. And then I'll merge these
two layers together. So to do that, I can either
tap and say merge down. That's just going to merge one
layer on top of the other. Or I can take the two layers and pinch them together
and you can do that with multiple
layers at once. If you ever wanna do that, but that's how that works. And then now I'll turn the
Drawing Assist on so that this last one will
affect both sides. Let's see. Yep, There we go. Okay. I like how that's
looking and now I want to add some little lines to these
flowers and I'll do it with that maroon color, I think. Or maybe even the
charcoal color. I think the charcoal
color it'd be who know. I'm gonna do it with
this light purple. So I'll just keep
on this purple. And then I will go to
the pulpy pointed pen. You can use any
brush that you have. This is just a little
more little more texture. So I'm going to bring this up. Yeah, so see how skinny that is. It's just, it's a
subtle texture that we're adding just by
doing these lines. I'm going with the direction
of the curves on each side. So toward the middle
is gonna be less. And then toward the outer edges, it's gonna be curved
even more like this. And I'm making them
really imperfect and that's just so that they have some personality. And then these ones at the top, I'll just have them curve into it and then I might even
just stop right here. That just creates a
little added texture. And I could do
that with texture, but sometimes the
mark-making are lines that can really bring things
to life a lot more. So that's what I'm
choosing to do, at least on these flowers. And then sometimes too, I don't even have to follow the curve as long as I'm making some imperfect wavy lines
is what I'm going for. Of course, you can
do any design, you can do polka dots, you can do perfect stripes. You can use a texture brush that has a pattern
built into it. There's a lot of different
ways to make this Fun. And I feel like every single
time I do a piece of Art, I end up doing something
different with the way that I
incorporate texture, but I always want it
even if it's not actual, you know, like grit or Texture. It's like something just to
add a little bit of depth.
9. A Little Texture? Yes Pls.: I'll go back to the
wings layer here. And I will create that clipping mask
that we initially did. New layer, make it
a clipping mask. And then I'll go back to I
think I used I use attic. I did use Attic. Okay.
I think instead of red, I think I want it to be purple. I just think that's Fun and it pulls in in a way that
you wouldn't expect. I'll start soft and
just work my way up. In the lighter I
press 0, I need to, I'm going to undo that and
turn on my Drawing Assist. So the lighter I go heavier. If I push heavier, it's
a lot more opaque. And then the lighter I press, the more transparent it is. So while it might
seem like what you wanna do is go really light the whole
way because it's like, wow, that's really
intense when you shrink it down and you look
at it as a whole, it's actually not as
intense as you might think. So I will be the one
that says More is more. I'm going to also popped us
over to pink a little bit. Normally I do this on a separate layer because
I would want them to be two different editable,
two different ways. But it's not that big of a deal because it's all
on the same spot. That just kinda
tinted it a little bit to bring it a
little more color. Because sometimes when you
shade the color doesn't come out quite as much as
you would expect. But that did, that did what I wanted where
that little extra boost. Now one of the things
that I like to do is grab from something that's not anywhere near
being in this Palette. So I might go to this like
neon pastel, yellowy color. And I will create a new layer for this because I might
want to get rid of it. Clipping mask. Now I created a clipping mask on top
of that clipping mask. One thing to note about this, because There's, the clipping
mask is underneath that. That's not a layer that can be grabbed unless it's not it, unless I turn the clipping mask off and then it will
only apply to this, but because it's already
a clipping mask, it's going to skip it. And it's going to go
to the first available one that's not a clipping
mask, which is the wings. So just know that. So I'm gonna grab Oaks, I have to turn
Drawing Assist on me. I do this every
time there we go. So if I just grabbed
see what I mean, like, I know that some of you
are like that's not Fun, but I love the way that that looks because it's just like
you wouldn't expect it. It's so weird. I do though. I want it to be I'm using
my recolor right now. So I'm, I'm moving this over
to just that Texture spot. I'm adjusting my floods
so it grabs all of it, but obviously not
the whole wing. But then I wanna go and I want to see what
hot pink will be like. This does not want
to grab, does it? Maybe? Well, other way? Well, gosh, it's really
sensitive. There we go. Maybe like a lighter hot pink. Yeah, that makes more sense. But in theory, I just want to plant these ideas
for things that you might want to try it because
it becomes really Fun when you go out on a limb
and see what you see, what you can, see
what you can do. Okay? Now I'm going to, I think instead of adding
details to these leaves, at least not yet, I want to do the same thing, some form of shading. I think I'll just pull this
charcoal color for them. Now I've got a lot
going on here, so I'm going to
collapse my Moth layer. And that helps because
it's right here. But I could also go in and group more if I wanted
to or even name more. But I'm going to tap select
clipping mask and then grab that charcoal color and
then stay on attic. And I just want to create some interests
with some depth here. Might even go darker
than that. Yeah. Okay. So it's kinda like fading into the edges a little bit. I'll just do that to
all of the bottoms of these leaves and I'm not
doing it super precisely. I'm just coloring in
that main area here. Then I'll do the opposite where all grab that green again, but this time I'm
going to push it up. And now the top of it, I will just kinda highlight. They'll just have a
little pop of they realize I'm not
using a cyst and I could have done made
this to make it easier. But it's just a Little Texture added highlight that's
not even super light. So I might looks like, oh, I did that on both layers so I can adjust that and that's okay. But if I wanted to adjust
just the highlight color, I would have wanted to do
that on a separate layer. But that's alright. Because I can just boost it like this and I
know that seems super light, but when it's smaller, it's not that, it's
not that intense. Just the tips of these leaves create a
little. There we go.
10. The Best Part: The Details!: Okay, so now that
I have this done, I'm ready to go
into my wings and I am ready to add some
more detail there. But what I wanna do first
is I'm actually going to, I know that this is wild because I just said no, I want that. I'm going to go into this part of my texture and
I'm going to go to opacity and slide that down just a little so
it's a little softer. And the only reason why I'm doing that is
because I don't have texture on everything
else and I don't want it to be so
like bam texture. Why? Alright, so now I'm gonna go and into this charcoal color. I can grab it like this or I can grab it off of my palette and go to the wings area. I'll just create a new layer. Go back to one of
my solid brushes. So I'll go to the
vintage mono line again. And I'll just start to create some very simple
shapes like these. Have to turn this on. Drawing Assist. Just
something really simple. Folk artsy florals maybe
I'll do one in the middle, which is kinda like a
leaf or the mouth shape, but it just has these
little curves at the tips, but this will be like an
upside down flower basically. And then I'll do these
little floral heart shapes. I want them to be
upright even more. And what is this great question? But that's one of the
things I really have tried hard over the
years to release like that need for him
or for perfection rather because I don't end up
liking things as much. And so I'm trying to just draw quickly and let everything. I can view it that way and then know if I
want to change anything. So right now, all of this
is just happening because I'm thinking of it as I go and
I liked that a lot better. So I have like we drafted everything and then came back
in and now we're playing, which it really works. So I'm going to do a leaf, maybe like a smaller
I'm like branch almost. And then I can fill
that and remember, I can go to color drop, continue filling, tap, tap, tap, tap, and then select. Then that's done. And then
I can add any sort of like little dually
friends on the sides, which I might, I might just do some yeah, I might do some dots. So I'm gonna make this
a lot larger just so I can do these dots
along the side here. And then I think I don't
I don't even need that. Maybe just right there. No, I like it just on one side. Okay, so now I want
to show you how we can bring more character to these shapes
that we just drew. I'm going to thicken this
stem just a little bit. There we go. And that's
by using masking. So this is different
than clipping masks. This is where you're
going to go in and essentially erase
without erasing. So I'm gonna go to that
layer that I'm on, tap it and say mask,
not clipping mask. And you're not creating
a new layer for this, It's just on that layer mask. Now I don't know if you noticed, but my color went from that
charcoal color to white. When you use a Layer Mask, you want to use black, pure black, or pure white. And the way that this works is white reveals and black hides. So it's kinda backwards
because you would think of white as the eraser since white is like the
color of paper, but black is what's
going to erase. So think of it like the
pigment that you put down is what is
making it remove. So see how it removes
what I just did. But if I turn that
mask layer off, you can see everything
is still there. So this is how we can
work in destructively. So I'm going to undo that, This brush size down. And it's kinda like drawing
on top of the layer. But instead, because I don't
want to draw anything new, I can just create that mask, draw on this layer and see how it reveals
what's underneath. And same thing will work if I pull that black into this space. But I can see that
texture underneath now. So it's not just
drawing, it's also just, it's revealing what's
underneath this area. Again, if I decide I don't
like it, I can turn it off, but also when we
looked at the white, so let's say, I like this, I don't want to
undo and redraw it. I can go to white and
then a tip is double-tap. You have your pure
white. And I can go in And just erase that
part of the mask. So I hope that makes sense. I know that it can feel tricky
and it can feel confusing because I felt really confused about masks
for a real long time. And it wasn't until I got
Procreate and started working on procreate that I
finally understood it. So I think there's something about like that
being able to touch, touch what you're
working on because gosh, Photoshop just was not my buddy. I just didn't get it. I mean, I did but I
didn't get the masking. Is that Photoshop or
Illustrator? I don't know. I'm just putting in are just little marks there
to create some interests. And I think that's
too, too much. It makes it look too much
like lines and I wish I would've looked at it before
I went that that wild. So I'm just going to undo this. Essentially. That's
what you would do, is just to reveal, There we go through that mask. And then you can add
little details like these little dots that
follow that curve, the curves that you made. And just follow
along that guide. And then you have all of this extra detail
That's super small. But it adds so much character, kinda like what we did with
those flowers. Same idea. I'm doing this super. But I just want to show
you what it can look like when it's completed. So you can do that now to
this part of your wings. You can do that to the flowers. You can do that to
his little face. I'll grab where he
is and he's here, so I'll mask that. And
then let's see you. When I mask it, it just
makes it his eyes disappear. So I actually don't want
to do a mask there. I'm going to just
create a new layer, grab that peachy color, and give him some eyeballs. Here we go. Here we go, buddy. Huge, huge, huge eyes for
his tiny, tiny little body. That works. Okay, and
I'm also going to make that super small
and I just want to give him I don't want I
don't want the assist on for this one because I just
wanted to give him some imperfect lines
on his little body. Although that's pretty thick. Now, I want to show
you this is the smallest that this brush
gets if you ever want to change that and you want to
keep using the same brush, but it's not getting small
enough or large enough. If you go into the
brush settings, remember duplicate first Toledo, you don't mess anything
up on the original brush, but this is mine so I can do it. Actually, I will
I will duplicate it. I'm like, wait a minute. If you go to Properties, you'll see minimum
size right here. You want to turn that down? I'm just going to bump it
down to one instead of two. I guess that'll do the trick and then bring this
all the way down. So now it's a lot smaller,
which is what I want. So I'm just going to give
him his little body ridges. So he's got he's
got some curves. I'm not doing these perfectly, I'm just kinda doing them. I think I want to change the
color. A little too much. Contrast pulls too
much attention. So I'll go to re-color, grab one of those, and then I'll turn the flood up and you can't
see it right now, but I'll show you what I mean. So if I was to change this, see how if I have
the flood down, it's only grabbing one of them. But if I turn it up, it'll grab everything on that layer,
including his eyes. So let's go. I'll just make it a darker
beige color or grayish top. And then I'll make
his eyes the same. They just were. Okay. So essentially that's
what we're working with here. I'm going to finish
the wings here. I'm going to add some dots
just for some filler. Just as a reminder, you have
all of these brushes linked so that you can snag them if you want to use them as well.
11. Your Project: It is time for your
class project. You now have an opportunity
to create or finished creating your unique
folk Art illustration using the techniques that
we've gone over throughout the class by applying
these concepts of varied depth through
Isolated Elements and perfect or imperfect
shapes and he symmetry. You'll be able to craft
captivating artwork that truly stands out and I can't wait to see
what you create it, so be sure to share it. And if this project
was Fun for you, be sure to leave a review because it helps
me out oh, so much. And otherwise, again,
my name is Peggy Dean. It has been an
absolute pleasure. I have a plethora of classes
that I encourage you to jump into because
isn't this so Fun? Creativity is just so Fun. Be sure to visit my website
at the pigeon letters.com. I have got so many
resources for you all. So I will see you
on the Internet
Peggy Dean, Top Teacher | The Pigeon Letters
