Food Illustration: Design a Recipe in Procreate + Free Stamps & Brushes | Mary Rose | Skillshare
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Food Illustration: Design a Recipe in Procreate + Free Stamps & Brushes

teacher avatar Mary Rose, Illustrator & Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:40

    • 2.

      Your Project

      2:21

    • 3.

      Inspiration

      5:57

    • 4.

      Brushes and Stamps

      8:36

    • 5.

      Sketching

      8:36

    • 6.

      Adding Color

      12:00

    • 7.

      Background Elements

      6:03

    • 8.

      Adding Text

      4:38

    • 9.

      Hand lettering

      10:18

    • 10.

      Final Thoughts

      1:25

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About This Class

Explore the world of illustration and design with a fun personal project!

This class will ask you to tell a story by designing a recipe illustration of your choice. Start by brainstorming ideas for the recipe, then compile inspiration and research that fits your concept. In Procreate we will create concept thumbnail sketches, getting our ideas down on the page. Utilize provided stamps and texture brushes to liven your illustration with depth and complexity. Finally, explore text and hand lettering elements to unite the design.

This class is for anyone looking for a fun illustrative project that can be used as a portfolio builder or a lovely gift. All skill levels are welcome, Procreate will help you get the most from the class, but feel free to follow along in the drawing software of your choice.

Lessons Overview:

  • Discover how to find inspiration and references
  • Utilize provided resources to get the most out of Procreate
  • Explore thumbnail sketching for engaging compositions
  • Play with color and texture to tell the story
  • Learn repeatable steps for creating text and hand lettering quickly

Make sure to check out: Class Pinterest Board

Meet Your Teacher

Teacher Profile Image

Mary Rose

Illustrator & Designer

Teacher

Hi, I'm Mary Rose! I'm a freelance illustrator, teacher, sewist, and all-around crafty person based in Portland, OR.

Since graduating with my degree in Graphic Design in 2018 I've worked as an in-house designer, freelance illustrator, and remote illustration instructor.

Teaching turned into an unexpected passion, utilizing my life-long love of learning and problem-solving.

When I'm not creating something, you can find me deep in a book (nonfiction or fantasy) with a mug of coffee and my cats on my lap. ?

See full profile

Level: All Levels

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Transcripts

1. Introduction: Are you looking for a relaxing illustration project that doubles as a gift or portfolio piece? Hi, I'm Mary Rose, everyone's illustrator and designer based in Portland, Oregon. Today I want to explore something fun and relaxing food illustration in Procreate, I'll walk you through my entire illustration process from start to finish, beginning with finding inspiration to thumbnail sketching, adding color. And finally, I'll teach you how to use the type tool in Procreate and some hand lettering tips and tricks. For the project, you have the choice between two different types of compositions. Image dominant composition that features the finished recipe product and the title. Or a step-by-step version that I'm about to demonstrate for you that combines both illustration and texts for hand lettering. So you can have a more interesting complex projects to get you started. I've provided some vegetables stamps that you can use as a base for your sketches. I've also compiled the brushes I've used in my project and added some texture brushes that I've created to add some interests in variation and the elements in the composition. I'll be teaching this class on my 12.9 inch third generation iPad Pro and procreate using the Apple pencil. These tools are recommended for my process. I will be showing you, you can still follow along the same techniques and other drawing software of your choice. It's up to you. Alright, let's get started. 2. Your Project: Now for the class project, we are going to design and illustrated recipe of your choice. I'll walk you through my personal workflow from start to finish, beginning with finding our inspiration to exporting the final project. Hi there holly. I wanted to give you two options for the composition. A image dominant design with the finished product, front-and-center and minimal text. Or the step-by-step variation that I'm going to demonstrate in the class that uses illustrated elements of the recipe combined with the step-by-step directions using handwriting or the text feature in Procreate. So you can have a more complex and varied illustration. Not every delicious recipe is going to be very visually engaging in its final form. That's why I wanted to give you these two options so you can make the most out of your chosen recipe. I was actually assigned a project just like this in college. I used a more realistic illustration style. And it was a little bit more involved than what I want you to do here. But because of it, I learned a lot about having fun in my work and using Passion Projects, so to speak, to advance my illustration abilities. It taught me how to find reference, build a layout, use hand lettering techniques that I wasn't comfortable with at all. Basically, it was a project that got me right out of my comfort zone and into the next phase of my illustration journey. And that's what I hope this project can be for you. Fun, relaxing experiment that just might make you think a new way that you haven't before and expand as an illustrator, this class will be taught entirely in Procreate on my iPad Pro, to get the most out of the class, make sure you download the brushes and stamps in the project resources section, I will explain how to import used in personalized those brushes in the brushes and stamps lesson. So stay tuned when you're finished, remember to upload your final project to the project gallery. Alright, next step. In the first lesson, I'm going to show you how I find the inspiration for my design. 3. Inspiration: Welcome back. Let's brainstorm some ideas for the composition of the recipe. Elements, layout, style, stuff like that is what I want you to be thinking about. I'm going with my fried rice recipe. It has a lot of beautiful vegetables that are cut in different ways and the sauteing and the sauces, all of these things just kinda create a visual explosion in my mind. So I know it'll be a good choice, but if you're choosing a recipe that's not as visually stimulating, made me think of the overall layout and placement. What are you adding to it? Are the plates beautiful in the silverware and napkins and basically any added elements that can take a simple piece of pie and turn it into a five-star dining experience. In my process, the first thing I tend to do is a word web he wanted to write down coming from the initial bubble. Anything that comes to mind when you think about your recipe, tools, supplies, layout, action words like saute scrambled, dice, things that actually come up with an image in your mind. I want you to write that down for my recipe. The very first thing I tend to think about is the walk. I think about the fried rice being flipped or stirred inside of the walk. So I know I want to either include or start thinking about the walk and those kinds of elements. Let's make a quick list of your favorite ingredients. So fav, ingredient. I'm thinking bell pepper, course mushrooms. What else? Maybe green onion. So I think of a bunch of different types of chopped vegetables are frozen vegetables. Maybe you could do something with the packaging. So these are the actions that I think of when I'm thinking about creating my dish. Adding ****** and seasonings, cutting vegetables, saute my vegetables and rice inside of the walk. So the next step is looking at your physical recipe written down circle. These steps are ingredients that you think are the most crucial, especially if you're doing this step-by-step version. So you can start building a visual language for your recipe in your head. Once you've compiled your word web in your list of ideas, the next step, finding inspiration and references elsewhere. Obviously the best solution would be taking pictures of your own, of your own recipe, of your own ingredients. But that's not available for everybody. So there's great stock photo websites like Unsplash and Pexels that work just like any other search engine to find good-quality images just for what you're looking for. So we scour the Internet. This is a great source for looking at ingredients to copy, like vegetables. So for instance, you can put tomato and you get a wide variety. So let's say I want some for my fried rice. There's some really nice finished product photos are some great inspiration for collating and styling. If that's the way you want to go. I especially like the mound of fried rice, but I never really do that at home. Mine just gets wolf down. Start to see how other artists and photographers like to present food. There is definitely an art to food presentation. Often, I noticed that there's very saturated colors paired with low light or dark, moody ambiance. That seems to really go well for dinner dishes or anything heavy. While on the other hand, if you're searching, see pastry, I think it's the opposite. You tend to see light, white, buttery, airy elements. They can go on the darker Heaviside too. But I think for the most part, you want to think about the spirit of what you're drawing and the types of words and adjectives that tend to go along with that type of recipe. For inspiration, for layout or other artistic styles. I tend to go straight to Pinterest, not to copy, but to get inspired. I've actually made a board for this class of all of the reference images that I find useful. You can find this Pinterest board in the class description below. I tried to collect a variety of art styles and different techniques in this board and also include different composition styles, some that feature the finished product or more of the step-by-step ingredients style as well to inspire either option here and you get the idea of art styles typically used in food illustration. Watercolor journal style is very popular and beautiful to look at. Saturated, delicate painting works well for pastries and other dreamy dishes. Try to match your style to the final products so the textures and fine details make sense for what you're creating. Your assignment is to combine a series, five to ten images that feel right for your project and create a mood board. Here's my mood board. I've just compiled some reference images that I found on those free websites that I talked about earlier. I've also pulled colors from my mood board here and call it fried rice. This is just a simple limited color palette that feels right for my illustration, clearly referenced from this mood board and are a great jumping off point. Alright, now that we've collected all of our inspiration, I'm going to talk about the brushes and stamps I've made for this class. See you there. 4. Brushes and Stamps: All right, Before we get started, I wanted to show you the brushes I created an selected specifically for this class. They should help you get started quickly and follow along with my process. The brushes can be found in the project resource section of this class. Download them directly to your iPad to open them or import them in procreate, there are two files you'll find there, the stamp brushes and the regular brushes. Download them both. Both work as regular brush files in Procreate stamp brushes just have their very specific settings that create the stamp like effect. They download exactly the same way to download the brushes. Find them in the files on your iPad. I have mine in my iCloud Drive. Click on the brush type and it'll import directly into procreate. Or you can go into brushes, choose the addition symbol and import them directly. Just like so. Now I have both my version and the version I just downloaded. If you accidentally download too many, just tap on the brush folder and hit delete, rename or share. It's really that easy. So after you've gotten your brushes, you'll need to know how to use them. The class brushes, which I've titled food illustration, or a mixture of all of the brushes that I use to create my illustrations. My go-to sketching and fill brush is a six B with the size turned all the way up from the brush settings. I also loved the dry ink for a more refined sketch or final linework. I use those pretty interchangeably, but you can test them out and see what you prefer. I added the syrup for a non textured lining brush or sketching brush, it does have some streamline effects on it, but you can turn that off. But what I really like to use it for is my eraser because it has a really dramatic thin to thick line, which is really good for getting into small little nooks and crannies when you're trying to erase. The brushes I created specifically for this class are an overall texture brush. I really have background elements in mind, but you can use these for any part of the illustration. So those two brushes are the chalk board in Canvas brush. I use photographs to create these texture brushes. These are my first one. So let me know what you think. Let me know if they work for you, they're really great for doing an overall texture. If you want to show us more of a subtle texture, you can add the lighter or darker version of that color behind it. And then you get a really subtle look. Here's what the canvas brush looks like. I think it would look great for like a tablecloth or a napkin, or I added it on a grilled piece of tofu and a previous illustration. Basically, it's a great way to separate the elements or just add a nice overall background texture, whatever you need it for, it's there, the gouache and artists crayon or for coloring objects or filling in the entire background for a textural element. Unlike the ones I created, they will add more color over time as you keep going. E.g. they are nice for slowly building up color or texture in small or large areas. I think they're the most in-between brushes of this set and you can choose to use them or not. They're just there because there's some of my favorites and I've used them in other elements in my illustration. I especially like using the artists CRAN, as like burnt or cooked looking marks. And the gouache brush is really great for like a subtle browning or delicate toast on something basically just think of ways you can apply these textures to food elements and how they work for that, we are going to try to add some hand lettering or textual elements to make that easier. I wanted to include this little stencil that I mean, it works with the brush size, scalar, and opacity. So you can do really tiny ones, are really big ones to fill up the entire page. I especially like taking the smaller ones using the free form and stretching them out across the page to make a sentence. The goal is to keep the middle of the characters on the midline, but you can decide to play with that and create different looks just like that. You can use this blurring guy to do anything you like. Make big titles with your own handwriting or use the text tool. And once you remove the guide and becomes easier to see the text and how readable it becomes. Without the lettering guide, my y's tend to go all over the place. Of course, you can always use the brushes you feel comfortable with. These are all just recommendations and to help you get started on the project so you don't feel too intimidated by all of the decisions you have to make. The stamp brushes can take the place of a sketch by adding texture and color, enlightened shadow, they can become an entirely complete illustration or simply use them as background patterns. Let's look at it. So I'm going to go into that G stamps in the settings. I've created some jitter in rotation. As you can see, the scatter and the rotation and the jitter create a randomized pattern look to the SAM. You can play with these settings to get a completely different look or feel. The shape of the stamp is what makes the stamp stamp. I made the original files for these stamps pretty large, so you can use them at quite a large scale without them getting blurry. But always be mindful of the scale that you're using for the stamps to create an overall background pattern, simply choose smaller size and don't let your brush up. It will randomize the brushes across the background, creating a really unique look. But be careful of overlapping like I've done on this side that can look a little messier. I like to use a zigzag pattern from corner to corner, making sure some go off the page. So it looks more natural like paper. You can always use the selection tool to move individual stamped elements or rotate them to make your pattern more exact. But that's how to create a really nice background overlay with those stamp brushes if your piece calls for it. So since I want to use bell pepper for my illustration, let me put one on my canvas. Now. I know I'm going to draw in a highly textured style. I'm going to use probably the dry ink brush. And so these clean lines that I use, I think the syrup brush for don't quite work. So I can do then is you can either choose Alpha Lock, which locks everything on that layer to stay in place. And when you go back to draw, it will only appear where you've already drawn. So only where the stamp is already been created will be affected by my brush. So then you can go in to the food illustration, choose one of the texture brushes like artists CRAN, choose a darker or lighter version of the color of the stamps. So I'm going to choose brighter and then just paint over it there. Now you have a highly textured liner. If you want to create an even more dramatic texture that actually affects the outline and doesn't let it looks so clean anymore. You'll want to select the eraser. I'm choosing the eraser and a highly textured brush like the artist crayon turn off alpha lock, choosing a lower opacity, 5-20%. Let's go with like 15. Then you're just going to suddenly erase over the lines there. Now it's a lot more broken up and it can go even more dramatic. So if I increase the opacity, you can almost completely get rid of that stamp and then maybe go back in and redraw and add color and texture and it really becomes yours. Alright, you have the idea lists and the brushes prepared for the class. Meet me in the next lesson where we finally start sketching. See you there. 5. Sketching: Now for the fun part, Let's see what we can create. The canvas size and dimension is entirely up to you. I'm using 13 by 19 " because that's the largest size I can print at home. And I might want to do that. You choose the best size for your project. Always be aware that the larger canvas you choose, the easier and crisper and the lines are going to look in Procreate. Basically you're not going to see the pixelization. But if you choose to use a larger canvas size, know that this will reduce the amount of layers that Procreate can allow you to use for that intended document. So you might want to play with that to get the amount of layers that will work well for this project, I think at least 20 layers is the minimum. It's nice to have somewhere 20-50 if you want to have like a lot of elements in your composition and do a lot of coloring and affects layers. So at least 300 DPI if you are going to print this out. Otherwise, you can choose any dimensions at you, like make sure you keep your references and inspiration very close at hand. A feature in Procreate that I want to show you is you go to actions canvas and choose the reference toggle. You have a few options. It will show you the actual Canvas or you can import an image or use it as a mirror and look at your face. So I'm going to import that mood board. I created the inspiration lesson. You can scale this however you like and move it around the canvas. I really liked that it's a free element. And you can zoom in to see the full quality of the photos you've selected. This will help me brainstorm one thumbnail sketching. Before I start sketching, I'm going to create some boxes on my canvas that represent the scale of the canvas so I can be accurate and more proportions when I'm drawing the composition, I'm going to use only the brushes in the food illustration folder for my illustration project. So you can follow along and understand the methods that I'm using for sketching. I like to use the six B pencil at a smaller scale. Now, I'm going to lightly draw in a box, keeping a little bit of distance from the outside. And now I can reduce this, keeping uniform selected. And I have a perfect dimension replica of my canvas. I can duplicate it and make my thumbnail sketches. So let me just add a few. Duplicate. Treat these as a warm up. They don't need to look good or intelligible for anyone other than you. You just want to move around all of the elements you want to include in the composition. Play with it. Try different variations. Maybe one is imaged dominant, one has the step-by-step process. To change your mind, scribble things, basically have a good time and try to decide what exactly you want to include into the illustration. I also like to make a list at the bottom of the page and keep track of the things that I may or may not want to put in the illustration. Keep in mind the principles of design. As you make your thumbnail sketches. Think of hierarchy, how big in where those elements are in the page. What is the first thing you see? What is the focal point? What is really drawing the eye into the composition? Is it the finished product, or is it a really beautiful rendered element of the recipe, like a bell pepper or a knife about to slice into a piece of cake. What is that focal point? Is it fiery and energetic? Is there a knife and cutting things up or a flame roasting something that has a certain feel and look to it? Or is it a soft, delicate, buttery croissant? So do think about your chosen recipe and the best way to visually represent it. Where are the elements on the page? Are they strewn about messily, or are they in a line order, prim and proper, that will say something about the overall composition as well. If you want it to look really nice and clean, looking at magazines and cookbooks, something that's made for print. And of course, don't forget about the text, where you place it, how big it is, how it's aligned, left or right, will really change the way the composition flows and looks. I'm not handwriting everything right now. I like to create boxes with lines to represent my texts. Or if it is supposed to be illustrated or look a certain special way, like with my knife where it says fried rice. Then I leave it in a more quick lead done illustrated style. But please don't spend time minute writing down the text that you want. Understand where you want to place it, but don't worry about the details right now. Don't forget to think about the text as a graphic element as well. A really large tidal can anchor to the bottom or top of the piece, really drawing the eye and changing the momentum of the composition. So always try to keep these elements in mind. When you're finished with the thumbnails, choose a final and blow it up to the scale of the canvas. I'll be using the dry ink brush for my second pass. It has streamline properties turned on, so it has a little bit of a cleaner look and feel that you can use whatever you feel comfortable with. I'm gonna go more slowly, be a little bit more deliberate with my line and my shapes. I'm not looking to render anything, but I want you to understand what type of elements I'm drawing. Of course, you can trace the found reference photos from the copyright-free sites or use the stamps as part of your sketching. I chose this sketch for all of the movement and the fire. I like the idea of a warm and cool composition with a lot of energy. My fried rice recipe is made really quickly and has an explosion of flavor. And I feel like this best represents the dish. I also want to keep the text separate from the illustration this time and do a step-by-step directions with the title in case I want to hang it in my kitchen. I like to start with objects that are in the background that have things in front of them. So I'm going to start with the walk in the flame. For flames, I just make a leaf-like shape coming from the same stores like a flower. I like to stylize it and keep it simple so it's easier to read. Now, I just create the outline of the rice and the vegetables. I want the rice to have a lot of movement and energy, so I'm fragmenting it as it moves up. Think of a wave, small elements together to kind of look like a liquid. And that's the principle I'm using for the sketch. Use the reference pictures for ideas on how to simplify the veggies or use the stamps as a base if you get stuck. I'm going to modify the mushroom stamps so it doesn't stand out against my other line art and also cut it in half so I can have a different variation on the mushroom. Just redraw over it with a thicker line or erase out the details so it matches the other line art. Since my sketches so vague, I'm going to move things a lot until I'm happy with the placement. Normally, I would spend more time on the sketch before using a final line brush. But this style is all about keeping a natural hand-drawn look. So this method works best for me. Don't be afraid of tracing your references for your linework, especially if you're a beginner, if it makes the design process easier for you, all the small elements also helps sell the idea of movement and give some variation in scale. I'm keeping this messy on purpose. The randomness adds to the style. Now I go back and refine certain elements. Use the eraser to crisp up edges and points. I have captured all of the elements I want to draw. I've added the walk, the flames, the foundation for the rice layer. All of the little elements that are going to have color in more detail in the coloring section. Okay, That's the sketching process. Up next, let's add some color. 6. Adding Color: Alright, welcome back. Let's add some color to these illustrations. So here's my color palette. I want to make sure I feature a lots of vibrant colorful vegetables, as well as the cool and warm overall color compositions so that we'll start with the flame. And then I'll make sure I use contrasting blue tones to compliment that. I'm going to use the six b to fill in each individual element on its own layer. And then I'm going to use some of the texture brushes like the artist crayon and gouache to add some more dimension and texture and depth to the shapes. This will work as light and shadow. I try not to use pure white or pure black too early on or at all in my illustrations because it can have a flattening effect. So instead, I tend to stay in the dark blues, dark reds, dark greens. And then if I truly want to emphasize something, I'll use black or white. So now I'm going to create a clipping mask. You can know it's a clipping mask by that little arrow. So now everything that I draw on this layer 11 will only appear where there's color on layer ten. This is a really easy way to do highlight and shadow or any other effects because you can also have the independence of the opacity of the clipping mask layer. For a live variety. I'm going to choose the gouache because fire has a low opacity. I can use that fire example as inspiration, but I don't want to copy it exactly. Realism is not what I'm going for. I'm suddenly adding some of the yellow hue on that clipping mask tap to just build up color. You can create multiple clipping mask for sections to have various effects. E.g. if I want the light of the fire to really glow, I might want to use color dodge or add and then bring back the opacity quite a bit. And then do something completely different for another shade with the flame based done, Let's move on to the walk. I've turned off the other layers because of the overlap. I don't want to get confused and want to see directly when I'm working on, I'm adding a layer under the walk for the coloring using my six B pencil. I'm not 100% certain what colors I wanted to go with, but I stay within my palette and then I can change it later on. So since I have a good variety of greens, I'm going to start there. I want to use the lines of the drawing since third solid and I can just drag and drop to do that on the layer that's not the line layer. You can make the line layer a reference layer. This means that on any other layer, those lines will be recognized in procreate and you can drag and drop within those lines. Like so. I'm adding lighter colors on the top and darker colors on this side just for a little bit of lighting. Now that the shape is filled, I want to remember to turn off the reference layer. Now I'm going to add the base colors for the rest of the elements one at a time. You can turn off all the walk layers to really focus in on the rise. Again, I'm making this a reference layer so I can use it. When I want to drag the color in with the larger sections filled in, I'm going to now use the brush to fill in these little rice shapes. I'm not trying to stay in the lines. I like it when it looks a little messy, especially in a design with movement like this. When you draw the color a little bit off sync with the lines. It reminds me of animation, and it just helps give that element of movement. The green onions remind me that I really like to change the line art color as I go with the coloration. Basically to add a little bit of light and dark value. So before I add color, I want to change the green onion lines to a dark green. It's easy to achieve this by simply choosing Alpha Lock and coloring over the selection. I'm going to choose a dark green and the FBI and just color over them. Now I'm going to add a layer underneath the fill. The lines might be a little too dark, so I'm going to go into hue saturation and brightness and just lighten them up. Mess with the saturation and color sliders to get really interesting effects. I want there to be a little bit of contrast in each element between the lines and the core value. But I don't want it to be really eye-catching and a light and dark contrasts. So that's why I definitely want to change the line color on the rice as well, either making it slightly lighter or slightly darker. Firstly, I'm going to try hue saturation and brightness because I feel like that's an easy fix. But I don't really like the way that looks. So I'm going to undo the alpha lock thing again. It will make more sense when I add a background color. And you can still see some of the dark texture from the color beforehand. At back other elements so you can see how they play together with the walk added back in. I know I want to adjust the line of the rice. You always want to make it clear what elements are coming forward and back. You can use lots of methods, overlap, intensity of color and scale. Of course. Next up, we have the mushrooms. I'm going to fill the mushroom with the medium yellow. In the 6 ft. After that we have the peas and carrots. Now, I want to change the line color again so it matches. If you ever get stuck on how to color your objects, make remember you have your reference photos. I know I'm going to add a lot more value to the mushrooms when I do the light and shadow. But for now, the dark lines can say because that makes sense for the reference image. But for the peas and carrots, I definitely want to make them a lot less contrast because they don't look like that in real life. For the carrot, I'm just slightly darkening the lines from the core color. I don't want them to have such a high level of contrast. And finally the peppers. Alright, now that I've added the base colors, I'm starting to feel like the illustration is a bit too sparse. So I'm going to duplicate some of these colored layers to start moving things around and making it seem more fool in lively. Don't forget, you can always use the selection tool to just change where things are placed and the layer in which they overlap each other in the layers panel. I really don't like the amount of mushrooms. So I'm gonna go, I'm going to group these layers so now I can easily duplicate it. And then now I have a second group of mushrooms. When you duplicate elements like this, make sure you significantly changed them either by the scale or use the transform properties to walk them in some way like this, I'm going to make them smaller and a little elongated and then just find a place for them within the illustration. I kind of like how it's overlapping elements and the top half here. But I don't like this mushrooms, so let me select it and move it around. Maybe it looks good here. So now we have more mushrooms. And I'm going to just grab these layers and move them into the other group to save the amount of layers I'm using. Alright, now let's look at other elements. I think we could use some more peas and carrots. So let me do the same thing for that. Alright, let me make it smaller. Stretch it out a little. I like to keep the scale of the illustration small when I'm moving elements around so I can get a good idea of how it looks overall. I kinda like that, but let me move some parts around, like the overlap right here. I think there's too many peas there. That seems natural. So now we have doubled the mushrooms, double the amount of peas and carrots. It's starting to look more lively for sure. Alright, now that we have all of the elements accounted for, I think that there's a good volume of elements. I'm going to start adding some light and shadow values with clipping masks. Now I want to add some of the browning effects. You can see her from the reference photo. It's not very striking, like burnt or chart, which I would use for the artist crayon, It's more subtle. So I want to use the gouache brush to add a little bit of just browning on the edges of the mushroom. I'm going to use low opacity and a small brush. And just multiple passes will create a nice textural effect like the reference photo. All right? It's subtle and you just have to keep swiping the pencil across the section. I also like to make the brush large and do a light pass over all of them. Really subtle. I wanted to change the color of the walk because I think it's a little bit too much green. I can do that easily in hue saturation and brightness. I really liked the way it looks when it's blue. It's a favorite color of my but I wasn't aware that I might make the background that colors. So maybe I change my mind and go more orangey red. Light the flame and darken it. So it's like an old cast iron pan. I will do the same treatment, two lines. This time choosing the lighten them so they are all visible. I forgot to change the lines on the fire, so let me do that now. Alpha lock. Let's see, We'll make it red hot. I wanted to lighten the lines on the green onions because I feel like they match the piece a little bit too much. I want to add an overall texture to the pan because I use the drag and drop color fill and it's pretty texture list. And as you can see with it's coloring, I think it needs some bit of RST, more rustic texture. So I'm going to add a clipping mask to the artist's crayon and the dark value. And just pink dot over top. And then play with the blending modes a little to see how I can make that pattern shine and reducing the opacity. And I turned it on to multiply. So you can still see it into the dark areas with most of the elements accounted for. Let me try adding some background color that can always change the flow of the piece. 7. Background Elements: Alright, now create a background color layer. Choose a color that does not compete with all of the elements you have, but ever so slightly contrast it. So if blue is my main contrast color, I'll use a subtle light blue in the background. Add a layer, but the sketch, I'm going to choose the blue from my palette and lighten it significantly and drop it. Now I want to add another layer on top and choose one of my texture brushes I created. With my brushes, you can create a light and dark effect by contrasting the overall texture with a darker, lighter layer underneath. And then combine, I like the chalkboard one for this because it's a bit more smoky and moody like the piece. Then I'm going to choose a darker version of this color and paint it in the background. Automatically, the texture from the illustrations feel a lot more harmonious with the background and things feel that more unified. But I do think that blue is way too eye-catching, so I'm going to find a way to reduce that. Let me start with hue saturation and brightness. I'm going to darken the color and see what this does the piece. This is an interesting look. I actually kinda like this. It makes the dark elements really pop, gives everything are really moody. Feel. Compare. This is very bright and energetic. And this feels like a chalkboard illustration, which is what I was going for. So let me see. I like that. We'll keep that for now. The dark background also helps me keep track of a little rice elements and helped me decide if I should add more. I think one element I'm missing is the steam from the rice. I wanted to make sure I get that in there. Above everything. I'm going to create a layer with gouache and that lighter blue I used earlier. And let's test it. You can't quite see it. Let's mess with the blending modes. Screen works really well. So I'm going to make another layer with screen, increase the opacity and start adding some smoke. I'm trying to mimic the wispy nature of the reference by just drawing lines that meet together. Starting from the rice. I'm making the brush smaller as I go to add more detail and wispy sections, I'm leaving this theme layer on top of everything so you can see the contrast of before and after. But I do want to clean up some of the edges there. Now we have a really steamy recipe. I think I want to make the background more of a gradient. I think because there's a light source at the bottom, it would make sense for more light to be down here. Then at the top, that would also make the steam pop more. So let's go back down here. I'm just going to take a brush, six B and a darker blue and paint the top half. To get a gradient. I'm going to go into Gaussian Blur and add it. So there's a smoother transition from dark and light. I still think this could be more dramatic. So I'm going to go into hue saturation and start playing with the values again. There. I think that's moody enough, but now I want to add a glow from the flame. So I'm going to combine these flame layers, create an Add Layer, because that is my favorite blending mode for any type of glowing effect. Choose the orange, choose the gouache to the low opacity and a big brush and start playing. I'm just swiping the brush in a U motion, keeping the intensity of the colors centered on the flame. Tapping to really add the saturation to the flame area. Now, I'm going to reduce this significantly before and after. But let's reduce. So I kinda like God amount of glow. Let's play with other blending modes. I think I like lightened best actually, but I'm going to reduce it a little bit more. Narrow. We haven't really glowy. And moody illustration. I didn't think we're going to create this moody of an illustration, to be honest with the clipping mask, are you on the walk? I want to add some of that glow effect onto the walk as well. I add a bit of a rim light on the underside of the walk. So it doesn't seem bizarre that it's dark against the flame. I use add and reduce it. I think I've included all of the elements I wanted to make sure to include. I have the warm and cold contrasts with the flame in the background. I have mushrooms that have a nice texture on them. And the elements are moving fairly nicely up the screen. The smoke really helps emphasize that and create multiple layers of transparency and overlap. Alright, meet me in the next lesson. Finally, add some texts of these designs in our recipe illustrations will be complete. See you there. 8. Adding Text: Finally, we're at the last step. Let's add some text to our illustrations for you. This might just mean a title, or it could be a series of step-by-step blurbs. Throughout your illustration, I'm going to show you both how to use the text tool here in Procreate and how to do some handwritten methods. Very basic stuff, but it should really finish off these illustrations nicely. Before we begin, I wanted to let you know I've duplicated my document and combined all of the color and line layers and separated from the background layer. So now I just have three layers, the sketch, the color, and the background. I did this because I needed more layers for this text example. And it just helps clean up my workspace. I did this after duplicating the documents so I can always go back and refer to the previous version, alright, to add text to this document, you want to go into actions and add text. It's pretty much that simple. You can write it out with the Apple pencil or use the keyboard to type out what you need. You can highlight the text by simply double-clicking it, or be more selective with these blue handles. So you can highlight just one character or the entire word. Here you have a mini menu on how to edit the text. This will tell you the typeface, and if you click on it, you will get the larger menu. This can also be done by just simply hitting this double a icon. It'll bring up the full Settings menu for the text. You don't need your texts elected to do the edits just to make sure you are on the text layer. Alright, let's run down the settings panel here. The size is self-explanatory. Kerning refers to the space between individual letter forms. So if I change the kerning here, it will affect them all equally. But if I use the selection, I can select just the kerning in-between those specific letter forms. That's great for typefaces that might look a little wonky and you might want to adjust how far spaced certain letters are next to each other. Tracking is also about spacing, and this one will always equally affect the spacing between the letter forms of a word. Letting has to do with multiple lines of text, but letting will add more or less space in-between rows of texts. The opacity is pretty obvious, but I recommend using the opacity slider in the layer and not this panel. It's a little bit easier to keep track of baseline changes. How high or low the letter forms go on the baseline. So you can change specific letters to go above or below the baseline or entire words to rise above or below the baseline. This can be useful when you're making sentences and can move words up or down independently of each other. Over here we have the alignment, left alignment, centered right alignment and justified. These work like any other word processing software. We have underline, you have outline texts, and you have vertical text. This T T icon will capitalize the layer. Procreate comes with a wide variety of fonts you can utilize. Some of the ones that might interest you are something like Chalk Duster. This automatically has a more hand-drawn look to it and will look good against, let's say the chalkboard background, e.g. you can change the color by going up here and just like you would for any other part of the illustration, let me make it a really bright color so you can see if you still want to create that hand-drawn look, look for a typeface that is a handwriting or overly texture typeface that married with the illustration, will probably look better than something like Helvetica, which has a very digital geometric look, which can contrast hand-drawn or overly textured illustrations. Personally, I don't like to use the text tool for multiple rows of texts. It can get a little bit hard to fine-tune all of the elements. So for this project, I want to use my handwriting and show you my tips and tricks for a little bit of hand lettering. I am by no means a hand lettering expert. I just use it where I feel like it works best. 9. Hand lettering: You can use that lettering guide I've crafted to help place texts wherever you need to. Remember, you can use the transform feature to make one brush selection into an entire line for writing sentences. If you're using hand-drawn texts in this project is probably more for the look and feel of it than the actual usability of the recipe. So feel free to just make messy, really textured looking handwriting styles if that looks good. Readability is not our number one concern because this is not an instruction manual. The actual legibility of the text is not crucial. You want it to look nice, match the style to the illustration. And if messy works, messy works. I will use the dry ink brush for this, change the streamline to have a more mechanical movement with your line. It will not let you have as much nuance in the lines are making e.g. very smooth curves. When I reduce the streamline, there's a little bit more bumpiness and uniqueness to the way the line moves it. A little bit subtle. And the stabilization removes the curve from the line. So I literally can't draw a curve when you turn up the stabilization very high. This means that you have less variability in the way you move your pen. So if you want something more geometric or cleaner, add more stabilization, I'm going to move back very far down. But also try any of the inking or calligraphy brushes native to procreate. All those were really nicely when you're trying to hand letter. And I want to make sure to utilize the guide that I have here. Choose a color that stands out in the side where you want to place your text before you have to make the actual letter forms, it's good to think about how large, how much you want to say and where you want to put it. So I know for sure I wanted to say fried rice pretty big. Maybe mushroom fried rice with mushroom smaller. But let's think about placement. Do we want the title to overlap the food or is it on the top? Is it overlapping? Let's think about it. I'm going to make a large guide right there. I like the way that looks. It's both at the top and overlapping. And it's in this nice large amount of blank space. And then I'm going to reduce the scale of this and just add a few down here. And you can copy and paste it to make it easier. And I'll see how that works. Reduce the opacity of the guides, and add a new layer on top in the Dry Ink. I'm going to choose the eye-catching blue for now. I might change it. I don't really have a hand lettering style. I'm not great at it. I pretty much just managed to use my own handwriting and keep it straight in bold, or use a lowercase. Let's just write fried rice first. I want the brush to be a bit bigger. Use the middle thin line for the placement of the mid stroke of the letter forms like the E and the F. Think about the spacing. You're keeping the same distance between each letter and the width of each letter is staying similar. So as you can see, I've made the F a little bit wider than the R and so I'm going to bring the r. So it makes sense. And you can use the eraser to round off sections. Try for irregularity. You don't want it to look geometric and perfect because if you did, you would just use the text tool fried. Now you can decide if you want to move the letter forms at all. Like I think I need more space right here. So just use the selection tool and move things around. This is basically the kerning, but doing it manually. I think this R could be a little bit bigger, a little bit, maybe wider. Use the Freeform tool to make things ever so slightly different. So you can make sure that they look good together. I don't mind the word fried rice. I do think the word Fried is a little bit too big. Let me scale it down. I think I wanted to include the word mushroom, but I want it to be a lot smaller. So I'm going to move this down and add another guide for the word mushroom. Maybe create a new layer so you can move around each word. Remember, more layers is better when you are moving around the elements don't settle on a placement just because that's where you drew. It. Makes sure that they're aligned. Now I don't want to mess with some of the colors. I'm going to change mushroom to a brown color with alpha lock, use the 60. You can turn off the sketch to get a better look, I'm going to duplicate the word fried rice because I want to try a dual tone effect, change this to white and move it slightly. I want to do the same thing for the mushroom. Now that I look at it, I think I even want to add a drop shadow. So I'm going to duplicate this back layer, make it black, and then do a slight Gaussian blur. So before, after, before, after, it really does separate things and make it pop off the page. But at this point, I'm not sure if I want the word overlap my illustration so much. So let's play with it. Move it around. I'm going to group everything so I can move it easily. Does it look better down here? I kinda like it down here because it's almost like it's being caught on fire to, and that makes me want to change the word fried to a different color. So alpha lock 60. And let's try the orange. I'm going to change the blue to red as well. And the white behind the mushroom isn't working so much, so I'm gonna change it to a black. I'm going to duplicate this. So I can save it, turn it off, and start changing some of these elements around. I think I like the color treatment. So I'm going to start combining comments by one, separate the word fried and rice. Let's separate it by copying it and then removing it from the previous one. Now I want to try a stacked version. So let's move things around. Now I have two options. I'm going to save the decision to the end. I'm not sure if I love either, but I'm leaning towards this one right now. Now I'm going to turn the texts layers back on, create another layer. Use the dry ink. I'm going to use white. Now, I'm going to start just writing down the directions. You could also just simply list the ingredients or just leave it as the title. I'm leaving this a bit more hand-drawn. So it has personality. I don't really need it to be legible or perfect. I've reduced the instructions to be as few words as possible and to be direct so they're clear to read and understand if wanted. But basically I just don't want to have Wong never ending sentences really. I'm not looking for sentences. Just one more word blurbs, I suppose. Move the guide as needed, be careful not to draw on the wrong layer. Now I have the handwritten step simplified. I'm going to move them around slightly. Play with the scale. Sometimes I need to add more texts because I feel like it's a bit too sparse. So add more if need be. I think the handwriting sticks out a little too much, so I'm going to reduce the opacity slightly. I like this fellow handwriting here. Here's an example. If I were to duplicate the text. If you want to just keep adding handwritten elements throughout the piece, it can look nice too. I know it doesn't make any sense because I didn't actually write the steps out. But sprinkle the handwriting throughout the page also looks really good. Even if it's not legible. I really liked the look of that. And maybe I'll go back through and add some that makes more sense. But for now, I'm just going to keep the small amount of texts that we have here and here. I like the movement that starts at the bottom and goes to the top. And these two blank spaces are now filled with texts that kind of compete with each other for attention. So I think the, I placed pretty well through the piece. I'm really happy with the way that the steam looks and the glow of the fire. It really feels intense and vibrant, like fried rice fields to me and it has a nice energy to it that I was looking for. The mushrooms are pretty front-and-center and it has a very moody vibe, which is fun. And exactly what I was going for. All right, when you've added that texts, you've finished the illustration. Congratulations, you can expert and share your work in the Share tab. I like to export my work as a JPEG or PNG. A PNG will retain a transparent background if that's something you want to utilize. But otherwise a jpeg works from boast application. You can share it directly to social media or save it on the iPad. Alright, now you have finished your recipe illustration design. Thank you for taking this class. 10. Final Thoughts: Here's my baby Holly. She hopes you really enjoyed this class and have a lovely recipe illustration that you can share with your friends and family and social media. And that you feel more comfortable with the entire design process from start to finish. That was my goal of this class. Make sure you share it in the project gallery section of this class so we all can enjoy your hard work. Include things like thumbnail sketches, reference photos. Hey, even the entire time-lapse from Procreate would be really nice so we can understand and appreciate your thought process. That's my favorite part of the design. I can't wait to see how you utilize the resources I've provided, like the textures and stamp brushes. I'm sure you've done things I couldn't dream of. If you have any questions at all, please leave them in the discussion section of this class. I'll keep my eye out and look forward to seeing your projects and answering any questions you might have. If you want to let me know how you like the class, please leave a review and follow me here on Skillshare for future classes. Any feedback from you as appreciated and helps you make better classes here in the future. Thank you again.