Four Weeks of Fun Winter Mini Lessons in Procreate to Form a Daily Drawing Habit

1. Intro and prepping to start: Hi, everyone. I am so excited to be doing this. Um, it just kind of came to me as I was thinking about what to do after Folk Tale week and, um, folk tale week was so intense, and I wanted to keep this really light. It's hard to do something in every single day, so I'm going to keep each tutorial. Each day is going to be under 10 minutes of drawing, so hopefully it'll be somebody you can follow along with, so it will be less than 10 minutes for you as well. That's going to be geared towards a beginner. So if you aren't a beginner and you still want to follow along, you can do something more elaborate. If you have more time in your day and you want to follow along with these prompts, great. So it's again just like my October prompts, where it's just whatever you can dio. So I got some winter, and then it kind of works towards Christmas, and on the seventh day of each week, it can be a catch up day where there's no new prompt. If you are caught up, I'm gonna show you a little way to make a collage or possibly a seamless repeat pattern with the things from that week and little things like that. I'll have to think of them as I go. I'm already prepped for a week one as of right now, and, um, just gonna take it a day at a time. So let's start. I want to show you how I start my daily prompts. I've done 100 day one. I've done a couple 30 day ones and then I just did the folk tale week. So what I do is I prepare a stack so this could be the start of your stack, but you're going to go ahead and I'm just gonna do 10 by 10. So if you don't already have a 10 by 10 at 300 d p I in your list, you can go to custom create custom campus, change it two inches with this 10 hiatus 10 DP Eyes 300. Title it if you want. It'll tell you right here how many layers that gives you and create Once you have that created, go ahead, go back out of that. And now you can just go like this. So you can either do that or you can do this. Oh, that's why I don't do that. It pops open the canvas, so ends up taking a little bit longer. Was he have a few Go ahead and create a stack. So select and tap on all of the ones he went to stack and tap stack and then tap that little X. So, um, de selects everything to add to a stack. Let's say you add another one that's outside of the stack and you want it to go into the stack. You can either do the same thing. You can select the stack as well as that new one and press stack, or you can wait until it opens and then drop it in the same way to take one out of a stack . You wait until it opens, and then you drop it out to have your stack have this as the first on your stack of papers . It just needs to be first in the list here. So now when you have your stack, that's what you see. You can call your stack winter daily art or whatever you wanna call it. I usually don't need my and it looks like we could add this to the stack. Now that you have several, you can tap on all of them and duplicate them. Right now they're blank. Now you're making five at a time, so you can make us many ahead of time as you want. You could even title each one. So the 1st 1 this snowflake, the 2nd 1 I can't quite read that is pine cone that just auto corrected. Maybe it's two words and so on. So you can title each one, have them all there for you. If you already know what size I I've been doing squares because of Instagram, but, um, you can do whatever size you want. And now you're ready. You can get. I've been preparing a week at a time as far as the titles and stuff go and the other benefit to that is, then I'm thinking about that week ahead of time. All right, so we have our prompts for this week. We have our hashtag I checked those hashtags and there doesn't seem to be anything currently being used for those hashtags. So if you're on instagram, you can use those. I don't know the purpose of hash tags on Facebook. I know people use them. If you're doing this on a different year, you could maybe just create your your own hashtag or just be posting these for your own benefit and not to share with anybody else and not to, um, see what other people are doing with the same prompts you're going to get in the project and resource is section There's gonna be a download for a, um, brush library that I put together a brush catalogue, a brush category. I'm not sure what we call this, so right. It's called 30 days. I have created a snowflake template. I have created a model I and brush, that is It gets really, really big. So why don't I go through em, show you all of the's? Actually, I'm gonna use black. So here's my snowflake template. You could make it big. You don't want it to go off the page. But, um, what if done here is I really like snowflakes with six points and the symmetry tool in procreate. As of right now, be right before procreate. Five is coming out. The symmetry tool does ate the radio symmetry is eight. So that see their 24 or eight. So you can't use that for snowflakes? Well, you can use it for eight pointed snowflakes. If you want to use my six pointed snowflake template, just create a template. I don't I don't recommend making it huge unless you want a huge snowflake. But if you want smaller snowflakes around the page, I would make them about this size or smaller actually make it approximately the size that you want. Create another layer. You can turn the opacity down on that and then you'll be able Teoh, I'm gonna show you on our first prompted days, like how to use this. So the monoline big is just a typical monoline brush that can get really big. It can also go all the way down to really small. I created a two different six B pencil brushes that are different from the procreate six B brush. This one is. It's, um it's very similar, but the taper is a little different and it also gets bigger. I like it bigger. You can still see the texture if you press lightly and if you go dark and it also goes from thin to thick as you press, so that one says just six. Mogens six b. This one says Gen six b no taper, and it's more blunt end, and it doesn't get thicker when you press, and it does go up to a bigger size them the regular six people have. So let's compared that that the six B pencil that comes with procreate goes up to that size , and it does have the taper. So there's some some differences, and I just I use that. So I wanted to share that with you. My I see and brush. You might be familiar with this if you have taken my gingerbread house Class is, uh, it's kind of a nice lettering brush. Actually, it gets wider as you press in it, surrounded and better. Now it's really nice. Okay, so these wash brushes. I played around a lot to get, um, a really nice texture, this opaque brush if you press lightly, it's nice and streaky, and if you press hard, it's very solid, opaque, and this one is called Multiply, and I want to show you how you get to that If you go into the brush settings and go to general right here. Brush behavior, blend mode. I just switched that to multiply. So I took my other gosh brush brush and switched that to multiply. Um, let me show you the difference here. Let's clear this supposedly three fingers. White clears it, but I never can't get it right. We go. Okay. The regular glass brush you can see when I criss cross over itself. It's just adding that same color, which is useful in some scenarios. It also is useful for all the lighter colors. This multiplied brush will not be useful for lighter colors, and I'll show you why. So initially it looks just like the other brush. What's put an example of the other brush, but see what happens when you overlap. It's getting darker and darker and darker, so you can really do some nice shading, and you might even want to start really light, so it's pretty fun. You'll find some uses for that, and then the rest are ologists. Native procreate brushes. They have a one next to them because I duplicated them, and that automatically happens when you add that when you duplicate a brush and then I put them in this little category, so I like a lot of texture. So I have the dry ink. Let's go to a darker colors. You can see that very spotty. And the edges. They're nice and choppy. Ah, studio pen is very clean like that. Icy and brush. Some know texture. Their artists. Cran has a lot of texture. It's got smaller on that and I love love, love willow charcoal. I've been using it a lot lately. Again, if you took my gingerbread class, you'll see that in there. I like the damp brush because it's light and you can smeared around. So there's a lot of purposes that this will be good for Nico Rule. Just rules group so much texture it soft airbrush medium nozzle. So that's in the spray paint section. Bonobo Chuck love this brush so versatile. I know it doesn't seem like it, but it really is a shame Something I did in almost 100%. But a bonobo chock, bonobo driven snow is appropriate snow brush that I'm gonna use inner snow globe prompt. I'm not super excited about that brush, but if you have a different I really wanted to just use brushes that you have available to you. Some make it made this so that you don't have to go searching kind low in your brush library. And I've given you the ones that I know I'll be using. Well, I know I'll be using up some of these, at least, and it'll just be easier toe. Have them handy down here. So I didn't want it. I didn't want to add something that I purchased that you have to go and purchase. So there are some other snow brushes and they just free. This is one of the procreate brushes that we could use in the snow globe. Maybe as well. All right, so that's a little rundown. Are brushes there? I am going, Teoh, go to video and purged what we've done so far and then turn that back on. So when we watch our replay, none of that brush plane will show up. It'll all be fresh. So in the next video, I will go ahead and show you this Snowflake 2. Day 1: Snowflake: week would prompt one. So selected my snowflake template. Actually, that's a good size. If I when you're doing this, I would turn the opacity down. But I'm gonna leave it up so that you guys can see in the video really clearly. And I am going to go to my gym's six B No taper, and they have it all the way up. Make a nice thick. I'm on a new layer and I'm just gonna go from the center. We're just creating one point and then we're going to duplicate. If you want a snowflake that has some middle stuff like this, then you're going to create one of those as well. So that's what I will do with you right now. If you want it to be super straight, you can snap that straight line just by holding the pencil down, and you can adjust it. You don't need to be super precise. The's guides are just for your own purposes. You can use them however you like. So if you want to have a little peace is coming off like that, trying to make him a similar on both sides and C may the direction they hold the pencil. Changed that lying a little bit. Maybe have a little diamond at the end. I see this one's kind of angled, but it's okay. This one right here and then what? I was showing you earlier. If you want some little things in the middle, you're doing one of those. And that's why I put these dots here. So let's just do one. Let's give it a big dot. Okay, get rid of that. I'm not doing one on this side because we're gonna be duplicating this and just rotating them. So it's going to fill in and you'll see that in just a second. When you duplicate, you duplicate the original layer each time. Okay, so this bottom one is your original. We need six. When. 23456 and then you can just start playing with him. I'm not using these flip tools because of that side piece. It'll put it in the wrong direction. Okay, I'm just gonna limeys up with the template. I'm getting that middle line lined up with the template middle line and then I'm moving it into place. Maybe this way, you do not have to grab the shape to move it. You can grab anywhere on the page, which is handy when you have a tiny little shape. Oops, I just changed the size. Now you can turn your template off. So I just turned it back on because I'm noticing the template, the outer circle. I really had it at the base of the diamond on most of these, but these outer to ones aren't so I'm just gonna move those in a little bit. And even though we're not going for super precise, I do. I I could sell that. Our son, our snowflake wasn't making a nice even shape there to merger layers. Just pinch them all together, not the template. Of course, you can just turn that off and use it again later. And you have a snowflake. Now, if you tap on the menu on the layer, this little layer menu pops up, and if you tap on Alfa lock, then you can change that sort of like to any color you want. I've provided thes snowflake colors. Here. You can use whatever colors you want. I need to tap on the light blue and then go back to my layer and half fill layer. Now I'm going down to my willow charcoal and go into it. I'm going to go down to a darker blue. Even you can go directly on this snowflake with your willow charcoal and start adding some texture. Me goes mnc. Concede this or you can go above it to a new layer. Tap on clipping mask and anything you draw on. This layer is going to show up on top of that snowflake, so it leaves the snowflake alone. It uses more layers, though, so and levies and clipping masks. But it does use more layers. You could even do another one. Maybe go to the white. Say you have a darker color background, and do you want your snowflake to be more frosty looking. You can merge all those layers when you're done, or you can just do your initial work right on here. Since you have Alfa lock on, you could even add a little bit of purple. Now you can go crazy, making all sorts of snowflakes with your template. You can change the snowflake size as well, not to drastically make sure uniform is on and at a new layer. Get your template may be moving out of the way a little bit and start drawing some more. Now that we have a great background, maybe you want to go to a white. There's lots of ways to make snowflakes and then just make as many as you want. You could even just duplicate this one. Move it aside. Let's turn that template off and, um, pick a different color. It's already on Alfa Lock, so you can just fill layer. Okay, so you have snowflake day. One. Have fun with that. Let's turn our background back toe white. Let's turn her background of black. Look at that Alfa luck so that your colors only go on top of what you are. What pixels air Currently on the page. Have fun with snowflakes. See you tomorrow for the next one 3. Day 2: Pine cone: all right. Day to pine cone, panko with snow. I have some of my browns and greens right here for you. I'm going, Teoh, go to a middle colored brown. Actually, I'm going to do dark and dry ink. I'm gonna make a big twig. Maybe a little too big. Maybe not pressed so hard where the branches meet needs to be a little thicker. Then the upper part Here's our big end of the twig that's going to go attached to the tree somewhere a new layer. And our pine cone starts with our prime concerts with the darkest brown. See, I think I'm going to choose my six b No taper. And I'm making kind of an oval. You can kind of Google search and see some different pine cone shapes. And I just realized, And when I was practicing this, I actually started with the light brown. So I am going to finish coloring this in the dark brown and then I'm going to turn on Alfa Lock. Select my lighter brown, Go back, Tap that again and tapped Phil Layer. Now I do want to turn Alfa lock back off And now I have that lighter Brown selected, Still gonna turn my size down a little bit and my pine cone Little pointy things. When are they called? We're kind of pointing towards the tip care. And remember, these are basic simple illustrations to have fun doing a fire, a 10 minute art project a day these air not realistic. And that's OK, so our pine cone is on a separate layer. I am going to go to a clipping mask above it just like that and go back to that dark color if you look at a Pan Konitz kind of light on the tips and dark in the middle. So we're gonna give that sort of that look. I'm going to draw angled lines coming from my little pedals up here, going that direction and then sorry. I need to rotate this cause I can't draw angles with that direction so you can have fun playing with this and just getting those curves however you like. I'm going to make my stem a little dark there. I really like that. If you want to make that a whiter line in here, you can play around with that. But I like the thin line. I'll go to and fresh layer That is not a clipping mask and do my dark green. And I did throw studio pen in here. I don't use that a lot because of the smooth edges, and that makes it way more digital looking. But I did like it for the pine needles. So if you think about how Pine needles are, there's usually a whole bunch at the tip like that. So if you do that on all three of these tips, this looks pretty dark green. But we will be changing that and then just kind of go down the sides. You can start here and go out, or you can start on the outside and go in. And remember, these really kind of just are all over the place in real life so I wouldn't cross over the branch like that. I would have the Indian Point B on the branch, but the rest I wouldn't worry too much about. I'm going back to my twig layer and I'm going to turn Alfa lock on. The reason I turned Alfa lock on is because I don't want to go off of my twig and want all of my next step to be on my twig, and now it'll only show up on my twig. The clipping mask is another way to do that, but that ends up being a lot of layers. I'm going to dry ink and I'm going to go pretty small time. It's 17 or 18% and I'm just drawing some little lines kind of a woody look. Everything you could do is go to a texture like the artist's Cran or Nico Rule and given a nice, cool Barkey look whatever look you would like maybe your pine cone if you Alfa lock that you can give that a bit more of a texture. Got Nico rule selected. So for this, I'm just kind of going across the and shading it, making it look a little more rounded. And then finally, our green needles. I'm going to Alfa, lack those and go to a lighter green and go Now I think I'll go to Nico Rule, actually, just kind of play around, maybe make your background a little bit gray. Sorry if you can hear that tick tick ticking. That's my hot water. I have five people in the house right now, so It's kind of hard to find quite time. That's perfectly quiet for school share tutorials, but it is what it is. All right, now we need Snow White. I really like the dry ink for snow, a pretty big size. And I'm just thinking about snow landing on the branch and being thicker in some areas and thinner in some areas, kind of settling in between the needles a little bit. I'm just kind of very spotty putting it on the branch. And sometimes it does collect a little bit on top of some needles. I hope you can see that. And then also on some spots on the bank own, of course. All right. There's your pine cone in the snow. You could add another pine cone up here. Oh, if one is selected, any swipe right, you end up selecting and more, and you can group them. So now you have your pine cone. The snow is on a different layer, but, um, I just want to duplicate that pine cone and then select it rotated. Maybe make it smaller, a lot smaller and stick it in there. Maybe move it to the top of the pine needles and snow Just play around with however you want that. It looks like if I'm going to add snow to that, I can't add it on this snow layer because that snow layer is behind the pine cone. So I could just add another layer and add some snow on top of this pinko. This select all of them. They have it all in one layer. If you turn off the background layer, you can save this as it Panji and use it for future work which I will show you on our catch up day. All right, there is your pine cone. Well, we can do a night sky. I like the dust ear blues for nights. Guys, You could even I wasn't planning for this daily prompting to have background. But this throw some snow on there. Very having a day. See you tomorrow. 4. Day 3: Winter tree: So for day three, we have winter tree with snow. It sounds kind of boring. Let's title it. So I was just thinking about, um just the, um the type of tree. Sorry. This is bugging me that it's not the center, the type of tree that's just normally like a disinterest re normally with some leaves, but not in the winter. I'm gonna go gray here because we're gonna handsome snow known. Then we'll be able to see the snow. And for this, I'm going to show you how to use the symmetry tool in case you don't know how to use that. So you go to the wrench, go to canvass, drawing guide, edit guide, symmetry. And then it automatically goes to this vertical symmetry and you can see the line here. I'm going to make the line a little darker so you can see it better on the video. And now every layer that says assisted is going to have that symmetry. Whatever the at the drawing guide is set to currently. So if you go change it, then um then this will be whatever the new setting is. So whatever layer says assisted is going to have, um, that drawing assist so earlier says assisted. If we tap a new layer, it doesn't say assisted. Have you talked that to get the menu you can tap during assist so you can do that for any layer, Or you can just duplicate sim blink layers, and they all have assist. But you don't need to do that for this. We use very few layers were going to go to a dark brown and going to go to dry income. So when I think about a tree, I'm thinking about the base, the tree trunk being thinner at the top and thicker at the bottom. I don't want straight lines, so I'm not doing the snap to tools. So we have dinner to thicker the top. I'm going to turn off the symmetry to to finish the top. So I'm mostly focusing on the branches with the symmetry on. The branches are also thicker towards the trunk. I'm gonna turn that down. You can look at pictures, Teoh, get an idea of where the twigs and branches might come. Um, maybe you want them Very. Slowey and Circle E. Everybody is gonna have a different look. Go with a little bit more here before I turn my symmetry tool off and I mean to stand that same layer in turn, drying assist off it just takes away a little bit of that symmetrical look. So now I could have symmetry back on now that I'm down here. But again, I am kind of taking away a little bit of the symmetrical look, by keeping that symmetry tool off. There we go. I'm going to a new layer. I I was just showing you how to do all the drying assist on and off. I don't want assist on. I am sticking with my dry ink brush and going toe white And then again, snow settles It kind of settles in the grooves like this on the tops of branches Very uneven. If you have something pointing up, maybe has just a little bit on the tip. Maybe some of these branches have so much that it's coming up on these other little Twix. I'm going to turn my gray a little darker, so I can really see if I'm getting all of that off The gap between the brown branch and the snow filled up there. I'm just looking around, It doesn't need to be on every single horizontal branch. If you don't want your drawing guide on anymore, you can just turn that off like that. The symmetry is still there. Let's go to a grayish blue dark winter sky. Hopefully, you can see that dark brown under the snow. Either I can either turn on Alfa Lock and do this directly on my tree. Or I can add a layer, turn on clipping mask and go to another. And I'm sticking with this Dr Rush. This dry brush dry brush is great. So I'm gonna get a smaller size. I think my my color is a little too great. Try that medium brown. That's better. What? About 8% and I'm very be pressure. So this brush goes kind of thick and thin, and I'm just giving some some fun. Would greeny like we did with the pine cone twig? I'm not making really long strokes, and I'm kind of being playful with it. Maybe you get a darker brown, so this is the brown for the tree. Then you can maybe move in a tiny bit darker here and get another tone. And if you can see that Discuss it a little bit more. I am going back toe white, going to bigger size of my dry ink. Yeah, that some snow down here and the snows kind of piling up around the tree a little bit. And there's our tree. See you tomorrow. 5. Day 4: Cardinal: All right. We're on Day four, Cardinal Twig Berries. I am going to go to some reference photos just to look at shape. So I put Safari over here and I searched cardinal with Berries and Google. And if you go to images, you have a lot of options here. So I think I like that one. It's got some various. We're not going to make it look just like this. I just want to see our shapes. I'm going to try to help you learn how to do that. I've got some cardinals in your color palette, some cardinal colors in your color palette. So this top when is more orangey. You can see his beak is a little bit orange. But for now, I'm starting with red that middle red. He's nice and bright, and I'm going to go to a six b pencil. Okay, I have 1/2 circle here. They have kind of almost a 45 degree angle on his back and then 1/2 circle. So let's start with that now. Have his tail coming out here, and it kind of curves right here to his tail and his wings poking out above his back a little bit. What I dio Here we go. So that wing is right at the base of the tail. So right about here getting perf something like that. Hopefully you can see this. And the eye is near the top of this half circle. Maybe about right here. The beak is just to the left of the eye, and it's there's different kinds of bird beaks. There's thes hook like this. They're super pointy beaks like a finch. And you no longer beaks like a crow. This bird has a curved, slightly curved top and a slightly curved bottom, and you can see the top of its beak is about at eye level. Hopefully, you can see that close top of his beak is right in his eye level. So I'm gonna move his i up a little bit, and because he's sort of looking towards us, that bottom of the beak comes in a little here, and I'm just gonna put a little Swee'pea line here, all right? And now we have his little triangle on his head. All right. Still, we have a very basic bird here, and his legs come and down. I am not going to draw feet. Not today. All right, let's go to a new layer. Turn that down just a little bit. We'll stick with our pencil, and this is very fluffy on the backside here. So I'm just kind of letting that if left out and let's go under that layer to do and it's good, jump into the middle here, and that will give you a kind of a weird pink for its legs, which, if you look there, they are kind of a weird pink. Okay, now we're gonna go back to the red Cardinal and go above it. I'm not turning this into a clipping mask because I'm adding in his orange beak. I'm gonna go little or injure. Okay, so it's be kind of starts here and in here and then has a little bit of a curvy. So will be curve there. I'm going to black. And if you look carefully here, there's a lot of black under. Let's go back down to his red layer. Now let's go to another layer. We're not hurting for layers. So he has black down here, appear a little bit, and then over to, and I and kind of around the eye. Now I just kind of filled in the eye. But if you come over to a gray, maybe a little lighter, maybe closer toe white, come down in a size here, then you can just add some outline shapes and maybe a bright spot for the I going back down to the Cardinal, adding a clipping mask this time and go into this dark red. I am going down to my willow charcoal and I'm just gonna adds some texture. So we are just gonna help. We need to turn off our sketch layer there. The dogs have drained me, so you might hear some noises. I'm gonna turn Alfa, lock on the nose and go to go. Just ah, lighter, peachy color. Get some highlights on there and let's see, Go back to the clipping mask on the body and go to that darker red again. Get some color. There you can see is already pretty dark with our added texture Here, you could even clipped Matt Uh, Alfa lock Hiss legs. Goto a Dirk just can't get those looking a little less digital. Okay, now I'm going above all of it, and I'm not turning a clipping mask on. And I am going Teoh a pencil. Um, I'm gonna go to a blend mode, multiply and a gray color. And what that does is it darkens so I can use the gray here, and it just makes it a very dark orange. Or I can use the gray here. Two makes it a dark red, so you can you can just go wherever you want and just stick with this same color. So I'll just pits. Um, maybe some feather lines on here. You can see the direction the feather lines go in. Since it's not a clipping mask, you can go right off. So be aware of that and maybe some tail feather lines. If you go. Since you are on a different layer, you can erase and drank it, right. I am going to select all of those and group them and highlight. Make sure uniforms on it make him a little smaller. I can't go to small with procreate. Can't really do that. Um, I don't need this outline of this sketch layer anymore, and I do want this medium brown and I'm going to go to dry ink. Let's look at those branches. Get some twigs. The Berries. I was looking at a different look. 70 made a little pattern. I have a similar one actually. Gonna go to this smaller and do the Berries air kind of in little clusters. Not quite that close together. Like little claws. You can add as many Berries as you want, so just add little clusters for them. I did all of that on one layer. Let's make the branch a little thicker over here. Now I'm going to layer above it. I'm making simple, perfectly round Berries with white and my large mono lane brush. Now I am going to go to a layer above those white dots and do a clipping mask and go back to a pretty bright red, maybe even make it a little bit more pink. I am going to also go down to Nico Rule and just kind of glub. Some color on those Berries. I would go to another copy mask and get a darker color and just get some. Just get some dimension with that couple of colors and then finally clipping mask a one more time on the very top Goto white, maybe dry ink and just put a little highlight from some of them. Just let's go back to her twig and Alfa Lockett and let's pick a dark brown and just pick any texture, a brush. I'm trying really hard not to just go to Nico Rule cause I love it so much. I'll go to artist cram and let's just kinda play around with some texture. So it's not just a solid color, and I'm gonna go to white and go to drinking and maybe put a little bit of snow. Maybe his feet could be buried in the snow, and that's why we didn't draw feet. Maybe some of these Berries have some snow. His feet are above the snow right here. So that means I need to put my snow on top of my bird layer. Now is feed or buried us now Perfect. No bird feet to draw today. Here we go. I think if you want to spend more time on your cardinal, you can probably get some more lines. Get somewhere texture. But it's also super cute just like that. Okay, See you tomorrow. 6. Day 5: Snowman: Hello. We're on Day five. We have snowman. I promised this one's quick and fun. I don't want a white background, so I'm going to choose. Uh, bluish gray Seems to be what I've been doing A lot for these and I am sticking with my dry ink and I'm on white. I've got my snowman colors right here. I've got a gray we'll use for some shading the orange for the carrot, the black for the hat. So let's go to a pretty big size snow Men usually aren't perfectly round circles, so I do kind of a squashed blab. The next one is a little bit smaller, and the next one is a little bit smaller. And when you put your snow meant together, you have to Can ISC wish them together so they get a little squished so that you say you're not doing them like that, right? I have a blob here. Do a little bit of snow down here, just kind of wavy. There's just no man. I never had a a top hat when I did snowman it as a kid, I don't know if I've ever known anyone who's owned a top hat But I've always drawn snow men with top hats. So I'll just do that, you know, I'm just going to stick with No, I want a different texture for some of these things. So I'm gonna go to this Jen's six b go pretty big, and in order for his hat to fit, it needs to go from one side of his head to the other. So the top part, it has to be at least that white, right. It's not gonna look right if it's that way, but there's all sorts of hats in the world, so you can give him whatever kind of had you want. I'm thinking about the brim of the hat being like a oval like that. Some of it is behind the head. Some of it is in front, but we're just seeing the French, so just kind of go with that, make it a little taller, maybe a little squashed, go to a smaller size. I'm on a new layer. I don't know if I mentioned at and gonna put Hiss Kohl eyes. I'm not going to put Hiss knows his his mouth on yet because I need to know where his nose is going to be. So let's go to that orange and make a curved part there where the carrot is being inserted into the snowman. Kind of wavy lines. Zoom in here, and however you want that carrot shape to be discolor, it all in could be a thick care of thin carriage. I'm kind of making him look off to the side a little bit. I'm going back to Black and I'm going to make smaller little charcoal. Peace is for his mouth and bigger ones. Or is middle jumped past? Were that Linus between the two snowballs? I'm going to a dark brown for hiss, arms thicker here at the base. Then you're at the top. He's since he's kind of angled. That way, you're gonna see this one more on the side. This one's more kind of behind it a little bit, and I think I will go to a new layer to do. This scarf can go back to some reds and greens Here. I feel like we've used a lot of red cell. It's try green. The scarf is kind of cuddly around. Hiss look squished between those two snowballs, so it's not gonna be a perfect line like that, although it can be and then hanging down maybe half some frill. In the end, they have a snorting dog in the room with me snorting when he's awake and snoring when he's asleep. All right, so just kind of make your scarf look, however you want, and then you can turn on Alfa Lock and pick another color to do some stripes. Maybe some of those rules are also read, and I am going to put a stripe on his hat, you know, kind of show that brim off a little bit. Let's go back to this green and also put a little bit of Holly. So, Holly, I do like this when I'm just doing simple holly slip slip, slip, slip, slip scooper. So let's just put two pieces of holly here and then some dark red Berries, since we already have some light red there and I can't really see that very well so you can skip that part. Okay, I'm going to do a clipping mask on this layer that has all of his little accessories. I'm gonna get a light gray. Actually, I'll just keep changing color, so I'm gonna get a light brown and do some highlights on his twigs. So I'm still on my six b pencil Just went to a bigger size. I'll go to my orange and go to a super light orange color and kind of highlight its nose a little bit, maybe go to my orange and go down and color to get some shadowing on the underside and kind of like gray for a little bit of highlighting on his charcoal. Got a smaller size for these little teeny tiny business. And I'm also going Teoh a little highlight on that rim. Maybe a little highlight it there, too. Okay, we're almost done now. I'm going down to my white snow layer and going to a clipping mask above it, choosing that gray that I've got in there for you and going down to the willow charcoal and just kind of press. Lately, I'm thinking about him being dark on this side and light up here. So this is just going to add to the white areas and it will make it look a little bit more three D. So I'm just kind of doing the curve line at the bottom of each snowball, then maybe a little bit of him casting a shadow down here. Maybe just a tiny bit on this side and you wouldn't go to a darker gray. I don't know. I like to add some shadowing under some of the things that are sticking out from him. So under the scarf, is it a little bit of a dimension there around his eyes on the bottom? And then, of course, each piece of coal and underneath the carrot. So if you can see that, maybe even under the rim of the hat, since that's definitely going to be casting a shadow and your snowman is done, I think I'm gonna add a little bit of texture to his scarf because I have the red and the green on his scarf. If I were to add some texture to his scarf, it would cover up the red. So if I go to a clipping mask above that and tap, multiply and just get a medium grey little lighter than what I am on, it's gonna dark in the red and dark in the green. Oh, we could do snow snow in the sky with our snow driven snow just like we did on the last one , doing it on top. Which means you can see it falling in front of him, too. You could go to the soft brush, Got a really big size. They all sorts of fun things. There's your Kate Snowman. See you tomorrow. 7. Updated Snowglobe Lesson! 2020: This is an updated version of a way to do the snow globe. So I wanted to put this in right before the older snow globe tutorial. You can still watch that. And you know, we do some fun stuff inside the snow globe. But for the actual globe part, I want to show you this new way of doing this. So if you go to any monoline brush, so I have more brushes now since I recorded this class. So just find any modeling brush and make a big circle. So hold it and then put your finger down it makes it a perfect circle. And then just fill it. It can be any color. And now we're going to turn that layer off, but we're going to tap it so the Layer menu pops up and tap select. Now, this is a newer version of procreate since I recorded this winter class. So it looks a little bit different here. And hopefully you can see, I've got these lines, these diagonal lines in this circle is selected, but we can go to a different layer now. And everything we do is just going to be contained in that circle. So go to really any brush. I like a painterly look. So you have new brushes. Now since this class was filmed, the original class, if you go to artistic and go to Laura una, now, I go into Europeana and I go to color dynamics. And I turn this hue to 0 because I don't like the color changing. If you bump up, spacing a tiny bit more up in stroke path, that's at three-person. So Fujis go maybe to 4% and then come back down to Apple pencil or a type properties, you'll be able to bump the maximum size up a little bit more. So those two affect each other. And now when you have a maximum size, if it can be a little bit bigger than it was. And I, my selection is gone, so I need to tap my selection again, go to a new layer. And I am going to do a bit of a dark color that's going to be behind the globe. So we're doing this on this first layer and can just go to a grey. We're gonna turn that to multiply. But right now we'll just do grace. You can see where it's at. And I'm just gonna do a little bit, kind of not all the way out to the edge. And this is a more painterly look. I'm gonna tap and hold to choose that same brush with my smudge tool and just kind of blend it a little bit. You can use any brush. So if you'd like a more smooth look, you can use an airbrushed, for example. And then go to the n here to get to the Blend Modes and just go up to multiply. And that'll help later. If you do something in the background, this dark color will not look so gray. It'll just kind of look darker in front of darker colors and a little bit lighter in front of lighter colors. And then we're going to add a layer on top of that. We still have this selection and go to white and museum. We end. And I'm just doing in SAM, ceded areas around here in there. This really doesn't have to be precise. And again, I'm blending kids that larger punishes very textured and they don't quite want a super textured look. And I'm gonna go to another layer, a smaller size. And I'm gonna get some around the edges. So not all the way round, you don't want a solid brightness all the way around. Maybe some areas are a little bit brighter. And then you can do yet another layer where you can just stand this layer and go a pretty small size and get a real bright spot. Again, this is more of a painterly look. So if you look at broke closest, real textured, and then you can actually turn that layer to the ad blend mode, makes it really bright. So that's up to you played around with blend modes. And if you tap that little magic ribbon there, you can see that you have this see-through ball. No matter what you do to your background. You just have this nice bubble there. And then continue on to the actual lesson to see just a, a nice, easy way to do a base and how to add insight. You have to highlight layers right here. And so you're going to want to add any snowman or anything you do inside the globe, underneath those two layers and on top of the grey layer. And then you can continue to add up to tap select on this. On top of the grey layer. You can really get some nice snowy effects down in here and really be smudgy about it because you have that selection on it's going to contain in that snow globe. And if you really want to get a kind of a the look that have, you have the glass like thin layer there. You can go ahead and select that snow layer and go on to distort. And just kind of play around with movie in within those two edges in maybe just ever so slightly the bottoms not as important because the base is going to be covering that down there. But if you look at what I did here, I just moved that snow layer slightly in and that kinda gives the effect of a glass layer being there. But I don't think it's noticeable enough to really worry about it too much if you don't want to have to do that. Alright, so there's your layers, you have a highlighted layer, a more faded light layer, the snow layer. And you can do all your layers, multiple layers in here for adding all of the things that go inside the snow globe. And then a dark layer in the background and then your the original shape. And I would just always keep that there because it's nice to refer it back to. You can tap it, tap select, go to a new layer and add some dots of snow. That's not the right brush obviously. And then you can just do snow effects and it'll stay inside the globe. And then one more thing I want to show you behind everything is to go ahead and do a layer with AD. So first go to a kind of a yellowish golden, pretty bright, so nice creamy color. And just kind of blob some color on Gill, go to white and the smaller size and get some white right in the middle. Sure, I'm on weight bite. Right. And then turn that to add. It's going to be super washed out and bright. And then you're gonna go to Gaussian Blur. And blur it. Alright, so I recommend going ahead and checking out the regular lesson. But maybe using this technique instead of the older version of that I did last year. In joy. 8. Day 6: Snow globe : All right, We're on number six Snow globe. Just pick a pretty blue that you like this came over here to this first blue and go to monoline part in my dogs here. If you hold there line, try that again. Hold it in place says a lips created If you put one finger down, it goes to a circle Then you can change the size of that. We don't wanna go to huge and then you can drag and drop. I am going to duplicate My dogs are going a little crazy. I am duplicating that circle. I'm turning on Alfa Lock and I am going to choose white and fill white. I can't really see it. Uniform is on. I didn't going, Teoh, decrease the size. So it's just a little toe bit toe. See that? Now I'm going to erase. So I'm on my white layer. I'm going to the soft airbrush and a pretty big size. I'm gonna erase most of this. So what I really want is a nice edge up here. Almost erased all of it on the sides there. The bottom is going to be covered. But this top hopefully you can see that that top is still pretty prominent. Okay? And then I'm going to add a little bit of airbrush as well. So maybe just a curve over here. Oops. I have Alfa lock on. So turn Alfa, lock off. And then you could do that. And then maybe a little bright spot over here. On top of that, I'm going to a medium brown. I'm going back to the monoline and I'll just go down to a small size. So we're going to Arc's here. And they were doing a little curve on both sides. This isn't perfect. You can spend some time making it perfect, if you like. I'm going to Alfa Luck that and choose a bigger, a brighter brown and come back down to my Nico rule. Ondas can do. I don't know, maybe a lower opacity. Do something fun, Del There, Give it some texture. Okay, that's good enough for the base. And now we have the inside. I'm not liking the blue I chose, so I'm gonna tap Alfa Lock And she's a different blue. I think I want more of a sea foam and just fill that layer. Yeah, I might change that again later. I think I'm also going to make my dark edge a little bit closer. So my dark edge is now smaller looking because I made that white layer bigger and fill that space and a little bit more. I'm going to go in between these layers because I want everything to be inside the snow globe. So everything needs to be under this classy look layer, and I'm going to choose white and my dry ink and everything I do needs to be in this, um, inside the the layer that has the frosty look, So I don't want to be drawing on this Start clear here, so I'm just gonna fill in some snow down here. From there, you can just go crazy. You can add some snow. No, I've got the low opacity snow on here and go down in size here and underneath that layer so that what you have in your snow globe is behind the snow. You can put a cardinal in there. You can put a little scene of a little house in a tree, santa. But I'll show you what I'm gonna dio and going back to my snowman. I am going to select. I'm gonna turn off all my snow in the background, and I am going to share as a PNG that saves it without a background. Now, before I leave this, I'll turn those back on and go back into my snow Globe ad insert photo and grabbed me. Snowman, make sure uniform is on now. We drew a lot of snow at the base of this guy. I might have to erase some of that. Let's do that right now. So just go back to dry ink for erasing and just kinda get rid of some of that. And then we'll bury him in this snow. Look at that. You have a snow globe, all right. You made it to the end of the week. And tomorrow is a catch up day and a collage day so it can be either or and or and we'll be doing some fun things. Just like I used the snowman for the snow globe will just put together some things with the ships that we've already made this week. See you tomorrow 9. Day 7: Catch-Up Day + Little Additions: All right, We're on Day seven, catch up or Collage Day. So on, um, the end of each week will have one of these days, so you don't have to absolutely have to get one of these things done each day. And I wanted to have something For those of you who don't need a catch up day, we're not going to necessarily draw something new. Maybe just like little bits of new. But we're going to use something. Um, we're going to use some of the things we already drew to make something different. Or maybe add a little, like, you know, maybe, um I thought of a different scene we could do inside the snow globe, things like that. So I'm gonna go ahead and show you a couple little things This might end up being longer than 10 minutes, but I have a little idea for this. And that was just to add more, Another layer of the needles. I haven't tried this yet, but I'm wondering if we can just duplicate it and make a tiny bit smaller lips. I'm not on the uniform, so I just can't have contorted there. I don't want it to look like a shadow of what's already there. So I moved it a little bit, and I also made it a little bit smaller. And I think I'm going to go to the, um, the lower set of branches or regus needles and make it darker. So if you could see that now, it just gave it a little bit more. I don't know what to just went to describe that as it you know, if you think about how many needles air on a branch, there's way more than what we put on. So this adds a little bit more. You might even be able to put that layer under the twig layer. And what else can we do if you want it to not look exactly like the duplicated layer, you can unlock the Alfa lock and then go to liquefy For this. Use this push and make the size kind of big so that you can grab a whole section of branch and just kind of tweak it a little bit. Maybe make some of the needles come over this way. Keep an eye on where the needles meet the twig. Okay, I think that that looks good. I think that looks a lot better than our original. Okay, so there's something I thought of for that for this guy since we know how to draw a cardinal. Now, I was thinking it could be fun to add a little cardinal. Turn off drawing assist. Go grab your cardinal color. And since it'll be tiny, I'm going with a smooth studio pen. I am on a new layer. I'm on top of the snow. I might go under the snow, but let's just see and picking kind of one of the horizontal ish branches. Remember, we have for me. Zoom in. It was a little too big. So we have our little half circle and our tail and get a little bit of an orangey color and go even smaller for hiss. Beak. Hopefully concede this. It really can't have a lot of detail because so small go in for that middle color for a couple little legs. I'm not even bothering going on any layer for this, since it's going to be really far away and then two black for around the big care might not even be able to get an I detail in there Let's see. And I'm gonna erase a little bit of Got my tapered six b. Just gonna raise a little bit back here. Oops. Maybe that was too much. So and maybe a little dark red for some feather details on the wings. Cut both my dogs in here making all sorts of smacking sounds. My screen hasn't been that responsive lately to the two finger thing here. Okay, cute. I like it. You could add some snow in the background. Oh, for the cardinal. I think you could actually get a lot of more. A lot more details on this. Maybe stick with this dark red and and go to our six b pencil. Go up and let's see what's layer were on here. So this is the layer with the outline. Drawings, outline, little lines and stuff that are already there. And if you just wanted toe emphasize the wings a little bit more things like that. Well, I'm really not going to be able to be doing much here. The snowman. I think the snowman is perfect. Maybe something you could try is making a snow woman and think of what that might mean. Yes, we're gender during the snow people. Um maybe a more feminine hat, maybe a red scarf, things like that. And finally, the snow globe. So I'm gonna turn off the snowman back there and add another layer. So I'm behind the snow dots and I'm behind the foggy. Oh, this is the other thing. I wanted to dio They wanted to test this out. I haven't tested this yet. I'm going to the ice and brush on white, white, white, and I'm gonna make I'm on a new layer because I don't want to mess with this. This layer right here, I'm just in case I don't like this, but to really make it look extra shiny, you could give it another little swoop like that. Maybe So Go back down here above the snowman where the snowman is turned off. And maybe just while we're drawing, turn off those. I am also going to change the blue on this again. I'm still not quite happy with that. It's good darker. Gonna go for kind of a night sky, look inside the snow globe and get away with that. I think I need to darken my surrounding sent snow globes kind of take on what? Whether near Scylla, just go with a gray for now. See how that works. And we're back on that layer of of the snowman that we just have turned off. Oh, that's gonna be so cute. Look at that. I think I'm gonna make new snow here. So we'll go to the dry ink brush on white and at some new snow here. Well, after erase this far edge later and another new layer And I'm gonna pick a cute little brownish pink house going to stick with my no taper six B and I'm gonna put a cute little wonky building in here in a fun little roof. Maybe that roof can have some darker little shingles on it. And of course, it will end up looking like it has snow on it. A swell. While I'm on that brown, I'm gonna draw a cute little tree just like our winter tree, but much smaller. Oh, I just released. I'm still in my dry ink brush. This tree is kind of curved away from the globe here, so it's leaning over this way, and I think I am actually going to put another little tree over here. I'm super excited. At the current time I'm filming this. I am about, uh oh. Maybe 18 hours away from the public Beta version of Procreate five being released to first come, first serve. So everybody's got their countdown's. Okay, so this is super cute right now. I'm going to Alfa Lockett and just get a couple more details on there. Really quick distance, cute little lines. And I want to put a little door and windows on here, but my windows are going to be really bright. I'm gonna go on a new layer and shoes a super bright gold. I'm gonna go back to my no taper six b and these windows air showing that somebody's home Somebody's home in this cute little house, then maybe, um, a dark plum door. No, I don't think that color goes well with our pretend house here. All right, we're still on that layer with the windows, but that's okay. You go to a super tiny and I, um, making simple lights string around in a crossed in, around and crossed, so these will be a strand of flights. Those lights are going to be on a new layer and they're gonna be really right. Let's see. No, What's fun for these is Nico rule Inner Taney. Tiny, many tiny, A little. So if you can see what I'm doing and go in impressing kind of heart and then light around it, there's a few ways to make lights and when is to use the gushing blur? How re pronounced that that was a little too bright. And then these lights are going to be brightening up the tree. I guess we need some all along the strand, you can spend some time erasing where the if you really want to get into the details erasing where the, um, the strand of light should be behind the tree instead of in front of the tree. Things like that. But I'm not gonna get bogged down in the details for this went Is that isnot what I'm doing for this? So now I want my trees to be brighter around the lights and my house to be brighter around the lights. I'm gonna go back down to my Alfa Laval later. That has my house in my trees. It doesn't have the windows, just the house in the trees. I'm going to go ahead and go above it and put them that, um, layer on, multiply for the blend mode and then also turn into a clipping mask. So it's whenever I draw is only going to be above the house of the trees. Since it's on the blend mode. Multiply. I can go to a gray and let's go ahead to willow charcoal and let's just Durkin, my gray is gonna help me durkin some areas, no matter what color it goes on. So I'm kind of darkening around where the lights aren't so on the back side of the tree. It's darker up here, away from the lights. It's darker down here, and then now it's brighter in and around the lights, but we can break that up even more. If we went to, I might go even darker grey for this roof. I'm wondering if I made those windows a little bit too big. It's on the same layer as my black strand, but I'm gonna go ahead and Erice lips. My thing was to big. You erase a little bit without touching the black Strand and just make those windows a little bit smaller. Here we go, Now, let's go ahead and turn on our glass and her snow. What we need to do is actually take this circle. So what I'm worried about here is my snow layer of the driven snow is outside of the blue so you can tap on that blue circle on top. Select and tap. Invert right here. I tapped it twice because one of the taps made the menu go away in the next tap is what actually selected that. And now I can go up to this and tap clear, and it cleared everything that was outside of that circle. I do want this fresh snow that we just drew. I want to, um, not have it go all the way up to the edge of that blue circle because it kind of helps give the illusion that we have, ah, layer of glass there. And so that's kind of fun. You could even draw a tight, teeny, tiny snowman in there. I wouldn't make this snowman. Um, it's teeny tiny to to fit in there, um, proportionately. Although a super cute, it doesn't really I'm not sure how how good of a job that will end it being um how like if it prints? Well, I'm gonna go in front of the lights with him. Hey, Super cute. I love him. I need to fix that snow underneath here because we just kind of erased in a quick way the other day. And then you might want to play around with that blue at blue. That blue is really hard. I might go darker. There we go. That's better. I like it. All right. So there's some more fun stuff you can do with your snow globe. 10. Day 8: Penguin: already. We are on day eight. Penguin. I have some super cute penguins ready to show you. I'm going to change the background color. Just a little gray, since we're gonna be using some white. I want to be able to see that and got a black here, and I'm going to go ahead. You can use dry ink or six B. Sorry for my snorting dog. At least he stopped looking. All right. Make sort of an egg shape, actually thinking to get a little thicker. All right, We're not talking about perfection here. I am going to use May liquefy tool, go to push and push it around a little bit. So I'm gonna push the sites in by its head and push the bottom in down by his feet. So is definitely more wonky shape there, but still pretty egg like, Well, we are going to do a little, um what do you call that? Kind of the eyebrow? Look there and color in that top. If you think about all the little cute penguins you see, this is what you see. Write little eyes here. Little big here. So that's kind of what we're going for. I want this all to be white. I'm not putting his flippers on yet. I'm also not giving him orange feet because I just can't. Can't do it. I can't do it. But he can't have big flip ary wonky feet. How about that? And I'll show you why in a second why we're not putting flippers on yet. I'm going, Teoh. Add a couple layers here and bring him up pretty high so I could go underneath and grab a white and being careful not to go outside that out or black line. I am just filling in with white here on a separate layer. There we go. All right. If you want to group those layers and duplicate and duplicate the original again, we're gonna dio three adorable penguins. All right, so we're on the middle one again, and let's go back to the black layer and go back to black and go a little bit smaller with our pin here. Let's go ahead and give him a cute little squinty eyes and penguin beaks air, not yellow. So I'm just gonna give him a little triangle here. All right? This penguins going to be holding something right here. So we're going near them big area over to this side, and we're going in Can get now down here in clips. A little bit closer in and again, All right. They can kind of bulge out on the sides here. These air, the little flippers. And this little guy is going to be holding a gift. I kind of Here we go. Now let's go over here to this guy. This one is the left one, some on the black layer. Maybe he has open eyes. I guess we could have put the begun before we duplicated kind of a roundy triangle upside down triangle. And this guy is just gonna have flippers like this. And finally, the black layer on this guy over here. Maybe bigger eyes, smaller triangle nose. And he's a happy guy. Let's see. Just try to sort of make them even not Not necessarily in the same position, but the same size Penguin flippers aren't pointy. They're more like this, But we're not being that careful here. His flippers air much longer, and this kid gives an overall look of a baby emperor penguin. Okay, let's go back to our penguin whose arms air closed. I'm going to go on top of an add a layer on top of the white layer and I'm under hiss little paws and I'm gonna choose a bright yellow and I'm going to draw a square and color it in. I'm going to make it look like there's a little lid on top, Kind of hard to see with the flippers there in the way. I'll go ahead on that. Same. No, I'm gonna go to a different layer since we're not desperate for saving layers here. And I am going to choose a nice Christmassy ribbon color Can't just kinda put a bow. I will just act like it's tight around the whole present. The other line would go across the top which we can't see going back down to my yellow and I'm gonna turn on health a lock and I'm going to get that yellow by holding my finger down And it didn't pop up here. But if you go out and then back in it came up and I'm just gonna go to a little born of a golden color and darker and go down to my willow charcoal and give it a little bit of texture here. You can see I probably could have gone director with that, maybe even do that for the red pick a dark red. It just gives it a little bit more of a less digital. Feel back to the yellow. If you have a nice dark orangy yellow and a thin, dry ink or pencil, this kind of you know that's not dark enough. It's kind of make alliance. I've got a good brown. There just kind of helps the helps that looked like a box lid on top There. All right for this guy over here. Then add a layer on top and give him a break. Green hat. So hats. Let's go to a bigger size. Hats have, ah brim, and then they also have the part that's a little bit narrower than the brim. Maybe maybe a little pump on mount up and again. Some texture. You can Alfa lock, or you can do a clipping mask, so we want to pick up that green, go a little darker, maybe go towards the blue hue more when you're shot shadowing things. She's, ah, blue or tone here and go back to my dry think with small size. Maybe give some, um, a look of having submitted ribs there. Put it the pom pom. Maybe go to a bright pink. Get a little highlight. All right, you've got that penguin. We've got that penguin. He's gonna be cold on his head. We're going to give this guy another hat. I am going to Alfa Lock Bad and go to a super light, creamy color. There's one here if you want to get that and go to my willow charcoal and it's pretty small size and I'm gonna give this had a little bit of ah, almost like it has a fuzzy lining. That's that that's exposed right there at the broom and see, Maybe go, Teoh. Dark pink. Yeah, There's your penguins. I hope that was in less than 10 minutes. See you tomorrow. 11. Day 9: Candle: we're on Day nine candle. I'm just gonna make a candle. A freestanding candle. It's gonna I seen because wax is so smooth and it chose this creamy yellow here and curving the bottom here. Maybe not quite that much. And I can actually drag and drop with this brush. We're going to add a layer on top and we're going to lighten up our creamy just a tiny bit . Turn down the size and we're gonna add a couple little drips. I don't even know if you can see it. Maybe a little. Maybe I should Dirk in the background a little bit. Think I might lighten that creamy color of even more trips that show up on the sides? Of course. Big drips that come down the back side here. I'm doing these on a different layer because I want them to be unaffected by any texture in that we might do on that base candle. We can't go under to get a wick color. I'm not gonna go solid black. I rarely go solid, solid black. If I do, I usually add a texture above it to brighten it. The UIC should definitely have a texture to it. So just go to my six be here. I always see them with just a little blab on top. We are going to go up on top here and make a flame with a pretty golden color. You can just choose this orange if you want, and I'll go to Studio Pen and make it a crisp, sharp edge. I'm going to go right on top. I am going to fill that. Maybe moving a little bit. Go on top of that again and a yellow bright yellow. Make a smaller one of those inside and I'm going behind those two flame layers. I am going to get a pretty bright white, but a little bit creamy yellow there. How about this one right here? And that's go to this soft brush. Miss Kenna put a little glow back there. We can change that. We can make it bigger. We can change the two more of a white by turning down the saturation, taking a brighter yellow by turning up the saturation very white. That way, lots of things you can do with that. I'm going back to my orange layer, and I'm going to erase with the soft airbrush at a pretty small size. Let's turn the yellow layer off for now. And just like we did with this snow globe, just gonna erase the inside a little bit. Can you see that? I can already see the wick in there and do the same thing with that yellow layer. We need a small there, he racer. All right, I'm going back down to my candle and I'm going to do a clipping mask above it and turn it on Wilt apply and get my Campbell color. Because with that clipping mask layer being ennobled to play If I use that same color on whatever brush I went, it'll actually be a little bit darker. See that? So I have Nico rule just giving it some texture tryingto play around with maybe make that a little darker. And I think our little drippy wax layer does need a clipping mask. Maybe that can go on multiply as well and whom I'm not sure which brush to use for that. If it will see, I'll stay on Nico rule and change the size now and I need a darker color. So it kind of has shadows under there. I think I will actually go back down to the clipping mask for the candle and do some shadowing under here a little bit for that too. Turn my opacity down on that Nico rule. Just give it a little more. Let's give it something There. There you have a candle. If you like it shorter, you can erase the bottom there. Just like that, just on this layer right here. Because those air clipping masks. So if you like that to be shorter, its code and nick a rule eraser. This, something like that, you could add a dish. I would add the dish underneath that the wick doesn't really matter where that IHS Mm. What color to make the dish about super dark brown. So there's a lot you can dio. It could be mask You can really see the glow If you're not quite sure about the the look of those flames you can marriage does and go to liquefy clips, play around with the flames, Maybe even make that a lower opacity. Is your candle 12. Day 10: Holly: all right, we're on Day 10. Holly. Go ahead and add a bunch of layers here. Go to the middle and she's in. Listen, middle brown and let's go with Let's go with six b Jen's six b. We're doing Holly on a stem. Just a little narrow stem. So just kind of make a little swoosh, make it thicker at one side and maybe a branch, A little tiny branch here and there to my size down so I can press a little harder, Stouffer. Now we'll go to a layer above that, and we'll choose a nice middle green tone. And I think I'm actually going to choose studio pen and have nice, clean, crisp edges. I'm gonna go small so I can get sharp points on the holly. So we're going to point point, point, point point, and I'm stopping kind of where this middle Linus pointing. Oops, I didn't get my middle leg. We're dragging and dropping, and we're gonna add texture later. So get your middle line and I don't have a stem over here, But I'm gonna add when Holly leave here, it's stable at the middle leaf. At least these air kind of narrow leaves, you could make him whiter. I m being rather quick about this part because it really doesn't need to be fussy. And I think I mean, add one more up here. We're going to a clipping mask above that and a pretty dark green. And our trusty Nico rule full opacity. Pretty big size. And we're getting to a swipe. See if you can see it better here. We're gonna be using the Nico rule on half. This was going to be tricky to not get it over here on this one, so I'm gonna decrease the size a little bit Here. I'll go in this half. It's a little too solid because this was a clipping mask I can actually erase without erasing. And I'm going to erase with me go rule again. I can erase without erasing this green. So that's really nice. And I'm just going to erase so that I only have the Nico rule on half of my leaf. So this midpoint right here, all the way down to the stem. So this is one of the nice things about using a clipping mask. Sometimes it comes in really handy. I can also change the shape of this underside of this this lighter green. So if I go back down to this base layer and I choose this green and I go back to my studio pen and I fix up these weird spots, my Nico cruelest is going to be showing because it's on a separate layer. So if I just want to tidy up here, you can see the Nico Rule is still there. There's your holly. We're going to a new layer to read. Just pick a red, go to the ice and brush Good. A pretty big size. And you know what? Before we do that, let's go back to our brown layer. And she's that brown. Sorry and go to exactly six B on that. Let's make some little spots for some holly Berries, and now we'll go to this top layer. Choose a red choose I seen. They don't have to be just on the ends of those little things that we added that could be some random once go to a clipping mask above that, and maybe she's a super dark. We come down to artist cram, get some dark texture on their go to another clipping mask. Yeah, a pretty light pink, almost white. Maybe go to the willow charcoal. Just highlight some of the side to that and, of course, maybe super bright white for some very strong highlights on those Berries become look, mason shiny. I think he wanted texture on this side of these leaves. So I'm going to go back to my salted leaf color and add another layer above it. It automatically made it a clipping mask. Since I went in between that layer and another clipping mask, I'm going to choose that green just so I know what green it ISS. And I'm gonna go a little more yellow with it. And later and then I'm not sure I want to go. Niko Rule might be a little bit too crazy. Let's try this medium nozzle. I don't know if I like that. Go back to my trusted willow charcoal. I like that much better. Let's have a little more texture and barely pressing on the pencil. And then I got a little texture on both sides. Of the leaves you can see is your Holly 13. Day 11: Wreath: Okay, we are on number 11. Reese. I'm getting a dark color dry ink. I'm gonna make a circle. Hold it. Hold one finger down. Makes it a perfect circle. That circle will go down on the bottom, actually. And the bill? Lighten it up a little bit. We are going to use some things that we already made. Go back to your holly, turn the background, layer off and save this as a PNG save image. We're going up to the pine cone. We're turning off the background and the snow, the falling snow. Let's turn off all the snow, actually, and save that has a P and G Saving as a PNG means no background will show up. If you say that as a J. Paige, even though there's no background showing right now, it will save it with a white background. So now we can add those images in. So if you go into the wrench tool and add an insert photo, look at that. You have your PNG's right here, so you can add in that you can add in that you can add in that. Okay, these are all pretty big, and we don't need this long stem. So we're gonna use all of these elements to make a reef. All right. My dog is scratching at the door. I'm going to duplicate and always duplicate the original, so I'm gonna get three of those. Turn them off three of these. Turn those off. You can either do it this way where you can keep bringing them in from, um, just like we did originally. All right, I'm gonna come down. This is the layer him on right now. Enemy to chop it up a little bit. I went to erase. I want it. I want to get rid of this whole bottom half, so I'm going to use my lasso tool. And I was gonna cut right here and go around, tap the arrow and slide that right off. Once you tap the arrow again, that's gone. It does not save your edges. A little bit of a blunt cut edge. Now, if you don't want that, you can go to your dry ink for the eraser and just kinda give it a rougher erased edge. Make its on, make sure it's on uniform. Sorry. My dogs wanted out, and now they went in so I'm just going to ignore and hope that he stop scratching at the door. All right, the slam. Let's see. I'm gonna turn that one else I can see better. I am going to just take this top portion. So the slight, all of that off the page. So this one, I don't know if you've ever made a reef, but you kind of have everything kind of going around a wire and you wrap around. I'm so I get I have everything pointed in the same direction. Let's trend those off so I can see what I'm doing here. Get rid of that big stem again. And just to be a little bit different with this one. So it doesn't look exactly like the other one. I'm gonna highlight this one twig and move it. We'll move it up here. Well, maybe I'll move it way up here and then erase all of this and have this be a bit more of a cluster up here. So let's turn on these other later so we can see where they're at. Make this a little smaller, so they're similar to the other ones making a little triangle with those I can always come back and erase these things later. Let's go to pine cones Right now. The pan cones are all on top of the Berries, but we can change the order later. Selector. Pine cone layer I think I'm definitely going to want my pine cones to be under. So let's bring that under the Berries. This pine cone. I'm going to decrease the size and I'm going to flip it. Just toe have ever 80 of which way those mean cones are facing. And I'm going to bring that under the Berries in the final pain cone. I'm right now. I'm making sure it doesn't look exactly like either of the other two. I don't want them to be all in the same position but rotated and we'll bring that down under the Berries. I can see him going to want to erase some of this stem of my pan cone right here. So that's the one I have selected right now. And I'm just gonna be some right there, so just kind of blends in a little bit more. This land, same thing right there. This one looks OK. It's kind of hidden under a berry Okay. Next step The holly that we drew, which is pretty long. Select the layer. And I think we're going to get most of our use out of this curved part. Let's go ahead and turn all of these off. So I am going to erase this part. Don't. Here. Um I think I'll go ahead to the lasso tool and kind of cut right between there, you can select it and then three fingers wiped down and pet. Or you can do what I did earlier and just slide it off the page. Maybe for this one, I'll just take the top. I think they might actually take this leave. Selected three finger swipe and cut and paste. Now it's on a separate layer. Now I can go back to the later that I did that, too, and do the same thing. Teoh another leaf just in case I need some individual leaves. Now let me turn off those and let's just get this one more and call it good. I'm not sure where that's going yet, because I need to turn back on those layers that we already added. Now we can figure out where the holly is going. So remember, we need to rotate. I'm looking at this leaf. This, like Holly leave covering up the stems there. And I'm also looking at where the stem might end over there, which I can change a little later with the liquefy tool. It's good of this land. Got a little smaller for that guy. Go to this one. I'm trying not to cover up all of those Berries. I might have to flip him back, but those Berries peek through a little bit more. There we go. Do we have any gaps? We want to fill with these extra leaves? I'm sure we could find some uses for them. I see a nice spot right here. I think I'll drop that under. Now you can get rid of your circle. There is your reef. 14. Day 12: Gnome: Day 12 gnome. My favorite. Okay, One of many favorites, I admit. Well, Cokie, let's add some layers. This is super super simple. Let's go ahead and pick a Let's do dry ink because we can make it a bigger size and fill in the body quickly. I put some gnome colors down here. I put a purple a thiel and a dark pink for body colors. And I put a, uh, beige our guest tan. I don't know what color PCI, uh, knows color and some grays for the beard. So let me show you what we do. Let's go with purple. We haven't used purple, I think at all. Okay, make a blob like we did with our penguin. When your dragon drop and fill with this texture brush, this is what happens is you have your nice texture brash around the edge and in a solid, solid color. So you can kind of fix that by going around the edge again, and it kind of fills in. It ends up taking away the texture. The texture is still around the edge, though. So this if you want your blob to be this shape, you can have a short wide. No. If you want to do free form and make him tall and thin, you can do stuff like that or just do another one later. All right, let's choose his little nose color. Maybe this darker when this is it. This is for the elf tomorrow, but it's a good color. Of course, there's a million's game colors, so you choose whatever you want, and I'm just putting a little pebble on top of that blub. Okay? Oops, I'm sorry. We need a new layer were put in. We're skipping a layer and we're putting a pebble two layers above that blub. You can have a tiny nose, a big nose. That's a pretty big nose. We're going to the layer under that knows, and I am going to choose actually this light gray. And now I'm going to show you my magic of my multiply opaque wash brush. Have you seen those gnomes? They have no faces and just crazy hair. Beards, I should say. So you can see this getting darker and darker as I layer. They actually covered up that purple blob a little too much, but it's all it's. It doesn't matter. All right. Did you see how easy that was? So I'm kind of going on top of the purple Blob. You can do a little crazies, but I don't know, they seemed like a troll doll. They seem to have just the beard hairs that come down. You could, though, make. Let's try another one. I'll just turn this one off. You could make things more like, Oops. We don't want to overlap this this particular brush. We really want overlap here, up at the top, so gets darker and darker. So but my point was, you could have it longer in the middle and shorter on the sides like that. All right, time to go back to this guy. It's kind of Ah, interesting. Gray. Let's delete that. And now we're gonna go up top and we're gonna give him a hat. So let's go to dry ink again. And let's pick Oh, pinkish reddish hat color. So his hat is going to go above his nose a little bit like that and it's gonna go down kind of like a little curve on both sides. So that's kind of an important part to pay attention to your honor, the layers so you can move that around, depending raise. Once you get that part, you need to decide what shape is his hack would be. And you can get really creative with this. Look online. Look. Look at some examples. There's a 1,000,000 gnomes out there right now. They're super cute and super popular. Everywhere you go, if you know how to sew, make a bean bag out of this based peace. It makes a great doorstop. All right, So here's your basic gnome. I'm gonna lower him a little bit, and now we're gonna add a little bit of texture to his nose. You can add texture to that base color if you want, but it's so hidden on this one, you don't really need to. So I'm just gonna alfa lock his nose and go back to that color and then go to a lighter one and go down to my willow charcoal and give him a little bit of a light there and then maybe a little darken under here shadowing. And then let's go to a clipping mask for his hat. And let's put that on multiply and worried we might even play with linear burn play around with those clipping mask are those Belinda modes and still on that willow. And I'm just kind of playing around here, just given it some texture. Maybe, maybe, And look, make him look a little roughed up here, and I think I want his hat to have stripes. So this is my club a mask with that gray on it, I'm gonna go to multiply on this mask, too, and choose that pink color and maybe go a little darker, but it's on multiply, so it's already gonna be dark. Can then do some lines that kind of follow. That might be a little drastic bit. Now you can play with the blend modes on these. Well, that one's place in Pretty It brightened it up and darkened it under the grey. Linear burn on that grey layer is a little too dark, but then you can use the opacity change there. Not a big change There. Like the multi play there's your gnome. You can make lamb taller and skinnier. Um, shorter beards, longer beards, all sorts of things. And because this is clubby masks, I can go to this space hat layer and go to an eraser. And if I don't like the shape that I Cameron, if I don't like the shape can change that a little bit. You kind of picture his head is under there, so you don't wanna have it go in right away, but have it kind of come out and then go in. You could put little bills on the ends. I think I don't like the purple. I'm gonna alfa lock that and I'm going to turn that into a pretty bright green And then I'm going to clip mask over it. Turn that on multiply, get my willow. Actually, Liska Niko So you can kind of see it speckled down there Some not super like in his beard color someone Can I go to hue, saturation, brightness and turn the saturation down because it kind of had a yellow And now it looks more gray. You can go dark hair and whiter. That's what I was gonna show you too. And you can go to that, um, wash brush for the race and just kinda touch up the bottom here so it doesn't look like the end of that or shape on every single end that wash brush um on multiply doesn't work for white. So if you want a white beard, you have to go to this opaque wash brush. So let's go ahead and turn that beard off and get white. You can see how cute is with a white beard, too. Let's do a background change here. Got a bigger size here, you to stay under his hat, though, because if you think about the hat pushes down the hair, so there's not gonna be any hair coming out from in front of that hat. If that's a little too white, you can get a little bit of a gray at some gray streaks. Still keeping it Preeti White Now que tous gnomes ever loved them. Have a good day. 15. Day 13: Elf: great we're on else. This one's gonna be a little bit longer than 10 minutes. But I am going to try to keep it pretty close because it's super cute and worth the time. But maybe I might be talking a little bit faster. I just brought the color down to gray and this uses a lot of layers. So I mean is throw some layers on there and come down pretty low. Let's see. 24 I'm going to this peachy color and I am on dry ink. You could also use one of the sixties. Actually, I'm gonna such to six b no taper and start with a circle. And I'm going to color my circle in instead of doing the dragon drop because I like that texture. I am going to add a little neck here and now I'm going above that, choosing my orange drop in my size down a little bit and giving her some cute bangs here. Flow enough to the side and then to the other side. And then maybe some longer hair here on the sides. However, you want to do her hairstyle for the front. Now I need to go behind and get some orange hanging down behind, too. Okay, Clips that was on the front. All right, let's go to her hat. I'm going above ups. We forgot her ears. Let's go back to this head layer. And but some cute years, I'm gonna dark in this background color a little bit more to some little pointy years. Try to make him a little bit even on both sides. Okay? And they will turn her hair back on. Now, we're going above her hair to this bright green, and this is going to cover her ears right now, but we're going to erase some of it later. I am going to put a hat on her, but I don't want to cover up all of her bangs. So I'm just kind of going from ear to ear and up and over and then up, Bend over like that. Try that again. It didn't end in the right spot here. Kind of like a little cap there. Color that in. I am trying to hurry a little bit. Okay. Once you get that little upside down bowl on her head from ear to ear, then just make a little swoosh and color that I'm going to turn the opacity down on that and go to my eraser to my six B. And I'm just gonna race where it's covering that years. So where the pale green is, I turned the opacity down so I can see where the ear is behind it. And now I'll turn the opacity backup. And now the hat just kind of looks like it's behind. All right, On that same layer, we can go ahead and add her dress. So just make a small rectangle or square like this. I covered that bottom part of her neck and then swoop soup and then just kind of something like that. Or it could be like that and color that is underneath, somewhere down below. Just anywhere below the dress layer are her legs. So let's go to this Red. I'm going to drop down the size here so I could make pointy little legs. I'll have her kind of walking to that way. Point her leg out a little bit. I'm just making a little pointy stick for this one. I'm pretending she hasn't me right there. Sorry. My pencils. Wacky. Right now her boots will make her look like she's going that way a little bit too. I'm going to Alfa. Lock that layer, go back to her green of her dress and put some straight son. Now I'm going in a layer above her dress, going back to that same red and give her little arms so she's gonna have little arms kind of coming out right here, okay? And they're gonna make a little bit of ah, l coming to a point. Just like her legs came to a point and call for luck. That layer Go back to your green, give her little strips. So we're almost done. Except for adding some details, I'm gonna go above the leg layer and at her little black boots, I'm on the tapered six b at about 47%. And I'm just gonna put a little triangle, which is kind of the boot opening appear and the hell at the bottom. And I'm putting those in line with the leg. So that triangle is kind of an extension of the lake. And now, since we're pretending that is a hell, we're gonna put the little curly elf shoe starting just above that, He'll all right, Let's give her some hands. They need to be on top of the dress. They can be above or below the arms, so we'll just go right here. Go to that color we used for the face. And I'm just going to give her little little bats. All right, so I think all we need now is some texture ring and some facial expressions. Let's go ahead to that face layer. Add a layer. I'm gonna turn it to multiply and then just I don't know. I like it. It makes it a little bit of a darker color when it choose this dark brown, and I am going to go to dry ink and pretty small. So for her eyes, I am doing little cups upside down like that. And then I'm kind of making cute little eyelashes over to the side again. This is one of the things that makes it a more feminine look, so you wouldn't want to do that if you didn't want a feminine look. If you go to this lighter brown, it makes a nice because we're on multiply. It does make a nice little eyebrow color. Let's see, apples are thicker and then thinner, thicker and thinner. Make it cannot be up under her hair, and then it's put a little cute little nos. You could do noses in various ways and let's switch to this pink color from the gnomes and do nice, cute, crooked smile there. All right, I'm going back down to the head and I'm going to add a layer and turn that one into clipping mask. I'm gonna add some textures and shadows here and that will be under the little face layer. So if we turn that on, multiply and we just go back to that face color, then it will show up darker. Goto, willow, charcoal. And you know what? You don't need to know anything about where to shadow and how to do this. Just kind of add some texture, too. Make it less flat looking. I do dark in the neck because if you think about the neck being the darker kind of hiding under the chin, there very my dogs barking in her sleep, and then the last thing I want to do is give a little rosy cheek color. So I'm going to that pink right there. It's gonna show up a little darker because we're on multiply and play around with Oh, that's super cute. I was going to turn the opacity down, but I like it just like that. All right, let's go do her hair. Let's do a clipping mask. Put on Malta, play and go back to that orange hair color and let's go to the six B Jen's six B and I met about 45% and just add some. That's some lines here. This gives it some more interest, will go down to the other hair layer, do the same thing, so add a layer equipe mask. Multiply. Okay, we're almost done. We're going to texturizing her hat and dress, so we'll add a layer clipping mask. And I am going to put that on. Multiply as well. I know I seem to use. Multiply it a lot. I'm gonna use Nico rule. It's a really great texture, and if you can get it lined up to pretend like there's a crease right there, it might take some trial and error. It's pretty close. Yeah, and then maybe the rest can be a little lighter, something like that and get some texture going on down here. You could be very precise with her dress making little sections with that, um, the way the shape of her dresses almost like those air flower petals. Something like that. I am going to her dress and hat layer, and I am going to Alfa Lock that I'm going to go to a little bit more of a yellow tone and a brighter and go to my willow charcoal and just kind of change it up a little bit, too. So it's not just one solid green under there. Do the same thing. Go to the green, go towards my blues and go darker. Maybe darken it down here. It just makes it a little bit more interesting than having a solid green back there. I need to give her a little hat brim. So I'm going back to that green and I'm gonna go a little lighter towards white and let's go to dry ink. What layer should we do that on? I try to just actually do it on the layer. Yeah, that should work. I'll go a little lighter, so we're on. The actual hat layer will go to a bigger size. My dry ink okay. And somewhere on top of those layers may be on the hand layer. You can go to a bright yellow dry ink and make a little bill. All right. We need to texture her arms and legs and then gave her a little gift toe hold. So go to the arm layer, go out earlier above it, cu lipping mask, multiply and let's choose this gray right here and willow charcoal and go to a pretty small size. This is going to shadow. So we'll go So even smaller size will shadow under her armpits here and then under her lower arms there and the same thing for her legs. So go down to the leg layer ad multiply, clipping mask. She would be shadowed under her dress there. And then maybe right here and under the back side of that leg add another clipping mask. This time, when you go to the blend, modes go to contrast. Vivid light. So we're down at the legs and we're on the same gray and I'm just gonna add a little bright highlight. So do the same thing to the arms. Add another layer, make it a clipping mask, go to the blend mode, contrast and vivid light and on the tops of her upper arms and the tops of her lower arms would be brighter and now underneath her arms. So I'm gonna go to come layer under and add a layer right there and going to choose a bright blue for contrast. Go to studio or dry dry ink and just try a little square that was a little big with that brush size, so she's holding a little package. Let's do a clipping mask on that. Gonna multiply. Go back to your willow charcoal and do some shadowing on that, maybe some very bright blue, you know, with multiply. Lighter colors don't work. So if you want to go back to the base layer and do l flock and kind of brighten it up that way, that works, too. Go to a dark color dry ink, really small size and make it look like that box has a lid. Now we're gonna go above the box and the clipping mask for the box, and she's a nice bright yellow and at a ribbon around. So just add a thick line in front and a bill on top kind of thick ribbon boat here, the little cut ends of the boat and just a bull. Just Alfa lock that goto a more orangey color and willow charcoal. Mr. Give it a little shadowing there. I think that package doesn't stand out enough from her dress color. So I am going to tap on that package, color the package layer and come over here to the magic wand tool and go to hue, saturation, brightness and play around with that color a little bit. So I'm going to the hue, maybe just to the saturation and brightness. I think I want it to be brighter and more vibrant. So the saturation go up the brightness going up and then think I'm going to keep it a blue tone, but just change it a little bit. And there is your adorable elf. You can add as many details as you like. Of course, make it yours. I'm gonna fix the hair here just because it's bothering me because that's how I am. There we go. You could also add a little bit of a shadow under the hat here. I can show you how to do that pretty easily, actually, on this later. Since it's already on, multiply the hair layer where we have the lines. If you go to a medium grey and maybe stay on that willow charcoal and go really small, the grey is disconnected. Darken it a little bit since it's on multiply. But I don't like to spend too much time on those details when we're doing a simple drawing like this. And if you don't like the textures, if you could see these spots, I'll turn the background too dark, even darker, so you can see. You can see that if if that texture bothers you on the face or anywhere else. What you can do is just to go to that color and go to that layer. Make sure it's not on Alfa Lock or this won't work, and then maybe go back to the pencil and just fill in. And because we used clipping masks for all of this, you can do this. If you draw a line right here, it's not going to affect that pink cheek at all. So if you aren't a big fan of that textured look you can form, maybe you want a little less texture. You can just fill in some of those dark spots. So, you know, I like the dark spots on the hair, but I wasn't a big fan of it on the ears and face. Oh, we didn't We didn't highlight her shoes at all. So let's put that on Alfa. Lock her shoe layer, and I can't see them since the background colors black. So we'll bring that back up and just goto a gray and, you know, you're on the pencil brush that works. You could capacity down and just give some highlights. There can do whatever you want for this shoes. And, um oops. Am I doing here? Background layer? Now they stand out a little bit more. All right, see you tomorrow. 16. Day 14: Catch-Up Day + Little Additions: okay, We're on Day 14 ketchup or Kalash day? I think I probably should stop calling it collaged a cause. I'm not sure we've done collages, but, um, catch up if you haven't done all of these or these. And other than that, I do have some things that I wanted to show you on some of this week's prompts. I forgot to show you to add a little texture to the white on the penguins. So what I did is I came back to the white layer on each 11 at a time, and I auto Sorry. I Alfa locked the layer, and then I went to this gray right here and to the willow trickle. And then from there, I just lightly added some texture around the edges and kind of gave it a bit of a fuzzy Look, I haven't done anything with the candle, but I think we could probably definitely spend some time on a layer underneath the candle. We just really, really quickly put this little candleholder underneath. You know, if you wanted to go to maybe soft air, brash and on black and do you sender shading underneath Probably where it would have the most shadiness on the two sides. I'm not an expert on doing this sort of thing. I kind of just figured out as I go. So I bet there's a class on how we can do that. And then maybe some shading inside, maybe another clipping mask on top of it. Maybe put that a multiply a little bit better. We're not going for perfect here. I think the Holly leaf looked really great, but we had a very solid brown stem on it. So I turned on Al Pha Lock like this, and I went to a really dark brown. So I went to this start brown, and then I pulled it down even more, and it grabbed Nico rule. And I just ran the Nico rule over the whole stem. And then I went to the light brown and to dry ink on the small size and drew some of these little lines is to give it a little style for your wreath. I realized after we were done that I didn't really talk about going through and checking your stems. The ends of your stems. Some of them have been really, really, really obvious and so if that happens, you can just erase some of them so you can go through and do this sort of thing and try to figure out what layer you need to be on and then just get dry ink or something like that on the eraser. So this is an example. This leaf has this little stem on it, and the leaf there is fine. Let's see which relief is that? Probably this one. But maybe I can pull it down under all of the pine cones. And now that stem is hidden underneath those needles. So that's a lot better. Al entities are hidden underneath things, cause we kind of paid attention to it as we assembled. So just go back and double check the gnomes. I think we covered everything you know have seen gnomes with legs and arms. That's a group him. Then we can move him up a little bit, although he's pretty big, and then go to a layer underneath, just checking to make sure nothing's on that layer. And let's go, Teoh Dry ink. Let's try out some legs. Let's get a red, deep red, maybe, and maybe green boots. I'm not so sure about this. I like the notes. I like the the numbers disk. Kinda being silly. Little legless blobs there. But you can play around with that for the elf. You could maybe do another clipping mask on the dress and hat and go to were already on a dark green dry income. Bring the size down and do some cute little details. Well, we could put a little detail on her bell. This is the bell layer with her hands. If you also lock that and go to that yellow and then pull it over to orange, go down to your willow, maybe just give it a little something there. And then, um, I would also go super dark, brownish here and go back up to dry ink, maybe go pretty small and put a little X on it with little balls at the end, although that part of the X couldn't look like it's going around. And then it looks like the opening of a bill and the other thing that will make it really look like a bell. I don't want to do super bright white, but may be a very light Yellow is a little shimmer if you If you put a little bright spot on it, it looks shiny. I think the gift could probably get some more. I don't hear maybe go down. It's got an artist Cran lips. You know what happened there? I'm just trying to emphasize the edges of it a little bit more. I'm not sure if I like that. I'm going back to a dark color with it now. And I just ended. I just finished lightning that up. I'm gonna go to the bow to that yellow and go a little darker and just get some blips. Not that gonna dry ink on a small size. Just get some details. You know, the boats have a little not in the middle. They're usually a little wrinkle. His things like that, you might be able to go to her facial expressions layer and make a little Oh, that's cute. The little chin line, like above the right below the bottom lip. I was originally thinking about some sort of chin, some sort of edge, but I don't think that looks good. Maybe play around with some highlights on her hair, go to that orange and then go super bright towards White. Maybe with the six B on a large size, but a low capacity. Something like that. I heard somewhere, so I don't I was not trained in art. I've taken a couple of art classes over the years, mostly in high school, many, many, many years ago. And I've taken pottery and things like that more recently. But, um, I don't know a lot about trained. What Trained artists? No. Well, I'm not going to highlight back here because really, we should be going darker back there because it should be all shadowed. If you think about that, that would be darker behind the neck. So I just chose a kind of a darker, orangey red eso I'm not trained in the arts. But I did hear recently I can't remember where, um, that if you have, like, three colors in one thing. So if you remember, when I did this dress I used to the green and then I added some more yellows and some more bluish greenish, um, I have noticed that that does seem to really changed the overall look of things. So, um, it's just something to keep in mind. So it's kind of why I was thinking about highlights for the hair. All right, so that's 123456 That was our six. Our six prompts. And then today was just kind of going through and touching up. OK, so tomorrow is candy cane the start of week three and we're going to start getting more and more Christmassy. I know we did that already this week. A little bit that, um less less winter and more Christmas. Tomorrow's candy cane will be quite quick, so that should make up for yesterday's elf being so long. See you tomorrow. 17. Day 15: Candy Canes: week. Three day Wen candy cane. Okay, Candy cane, Right. Let's just go toe layer to here and I'm gonna choose super bright white. You can do this a few ways. You can use the monoline, the Big Jen's monoline big and get a nice big candy king. Many used the snap tool by making a mark and letting it snap into a nice, smooth one. Been picking at my pencil just barely and coming back down on it and join a straight line and letting that snap. It's not quite perfectly lined up up here, so I'm going to try to move it just ever so slightly. Here we go. That's pretty good. That took some practice. So if you I did practice this yesterday, you could do maybe dry ink and go to a pretty big size. But then you're gonna have to go him, make it thicker by manually beginning it like this. So good it's not snapping to here and then coloring it in. So that's a nice way to get some nice texture so you can see the difference with ease to how this has texture. And this one doesn't. I'm leaning towards this one because candy canes are smooth. Let's see Nico rule. How about that? - I mean the Nico rule to erase Teoh. It's kind of hard not to get a choppy erased edge, but that's kind of the look that Nico Rule has. I'm gonna leave all three of thes on. I'm gonna go back to dry ink. Really quick has I'm being picky about this edge. This this some inter curve here. Here we go. Okay, So if you go to a layer above it and go to Olympian mask, that's all you need to dio go to a bright red. I would pull in. This really bright red looks very, very digital If you just go in a little bit away from the edge If that inner circle there, it just looks a little bit less digital. I'm going back to the big monoline and coming way down in size to 11% or so. I'm just going to check it. It's pretty good. So when you think about the curve of a candy cane, you're not just doing this, although you can. It's it's a style. It's definitely, um a very cute kind of artistic style for a candy cane. If you want it to look curved, if you want it to have ah, more of ah curve look like this you're going to come like s almost and then it gives it the illusion that it's coming around from the back and then coming up and over and then back down again. And then you're gonna want to try to follow that same curve, and it is a little tricky, as you can see, and then the same distance apart. And then as you come around the curve, it's gonna spread out up here and come closer together. Appear the lines are, and actually that curve doesn't look quite right. I think maybe as it comes around that curve, it does start to look more like that. And then back to an s website. Been makings and dots over here. I seem to be getting more palm issues right now, so that is one look. You could do another clipping mask. Just in case you goof, you'll be able to erase it, and you could go to a really tiny lips. I was on the racer, a really tiny monoline. I'm sure you've seen candy canes that have double lines, and you could also switch to a bright green like a spirit mint. I'm going to come over to this candy cane. I'm gonna go ahead and go to the dry ink brush that I used originally on that candy cane. I think it was easier to use the model line, so pick a rule. If you don't press hard, it it's light. So it's lighter. This I was pressing harder, zits darker, so I'm trying to be a little bit consistent. But I'm also trying to be quick, so we have three very different looking candy canes. I like all of them. I can see different uses for each one, and that's candy cane. See you tomorrow. 18. Day 16: Sugar Cookies: Okay, we're on cookies. We're going to dio some sugar cookies and I put some nice sugar cookie colors in the palette. Here. This middle one right here is a great one to start with and then use this lighter when to add some highlights and the darker. Actually, these two darker ones, too, and do some shadowing. I'm giving you some cookie cutter brushes. You can use them for a lot of things. And this star stamp is a solid star five pointed star. So this wasn't intended for the cookies. So I'll show you that for a different lesson. But for the cookie lesson I'm going to. Let's start with Let's just do this stocking. So if you select the stocking and then whatever color you want, um, let's say black, I'm gonna go ahead and use about, um, you know, five or six inch cookie and was just center it a little bit. This is just going to be for you to trace if you want. Obviously, you can make your own cookies in any shapes and sizes. But for our little 10 minutes a day, I thought this would be a nice little starter, so I turned the opacity down and I went to a new layer and I'm grabbing that middle tan and let's go to a textured brush. Let's go to studio are mean to dry ink on a fairly big size, so that edge has a nice texture on it. And I'm just roughly going around. These are the shapes that I remember having as a kid. So does the ones I used, and I could just delete that I'm stamp layer because I dragged and dropped that color. You're going to get this thick line of the textured brush where it's kind of bubbly there from the texture. I like to just go over it one more time, so because it's a small thing, it's kind of easy to just go around one more time. And all I'm doing is filling in and especially working, getting rid of that halo that comes around the edge where the solid Phil meets that texture brush. Look, I'm not going all the way to the edge, just mostly getting rid of that halo. So there's your base cookie. We're going to a layer above that were going to make that a clipping mask and go to that lighter color. And, of course, down to the trustee willow charcoal. It could a pretty big size might like 22% and just lighten up some areas just just kind of gets it a little more. Go to another layer clipping mask. This time, I'm not gonna put it on multiply yet because I am going to a darker color already. I'm staying on that willow charcoal. I don't want this to look like a gingerbread cookie, so I'm not darkening too much, and I'm trying to not make it look very red, but I know you know cookies do get darker. Let's check that darker color here around the edges. So maybe just can't give it some uneven This and it also gives it a little bit of, you know, makes it look a little thick, especially if you go just around the edges on some areas. I'm going to go ahead and lighten it up a little bit back here, So if you want to play around on this dark clear with multiply, it is getting darker. When you do that, if you like the look of that multiplied color better, you can play around with opacity as well. I think normal looks fine. And I am going down to the lighter layer with the lighter color, and I'm gonna lighten it up a little bit more. It looked a little too gingerbread e to me. Maybe even back to that middle starting color that be basically got rid of by covering it. So, yeah, it's still a little dark for Ah, a sugar cookie. Okay, once you get your cookie looking in the way you like it, toe Look, we come around, this little can trick here, then let's go to another layer. We're not making this one a clipping mask. We're going to add some frosting. And of course, we need white frosting. Go to that. I seen Penn. And we're gonna go pretty big because we're frosting and filling the whole thing. Let's go to another layer and shoes of red. Well, that kind of defeated the purpose for doing all that work. The key texture. Um and I'm gonna put that red under the white Let's go ahead and merge those upside that made a clipping mask of an undo that I guess it doesn't really matter. And I'm gonna actually make a clipping mask for that frosting layer, go to multiply and I'm going to black. And then I'm going to this soft brush and going really small, and what I'm doing is just adding, Oops, that's really dark. But I'm gonna lighten it with the, um, opacity set in here later. So I'm coming around the bottom. It's kind of tapered off on both ends. Just gonna it's gonna end up giving it a bit of a rounded three dimensional look. You might be able to go around a little bit more on the whole thing, and then let's turn the opacity down. So I met about 60% and I see some unevenness there. I'm gonna tap and hold the eraser so it's selects the soft airbrush and just and even that erase a little bit of that. I think that looks like frosting to me. I do want a shadow underneath that frosting, so I am going to add another layer in between the cookie and those clipping masks and the frosted. Actually, let's make this really quick. Let's duplicate that frosting layer and with the bottom one, well, let's drag the top one. That's the duplicate we'll drag that down so that we are messing around with the duplicate . And now it just messed our clipping mask up. So we need to turn this one back into a clipping mask again. Okay, so those two, we leave alone, and this one is now set to Alfa Lock. And we're already on black, actually. Let's go ahead and just go to this dark cooky color and Phil and then turn Alfa lock off in case we want to do the bowler setting. We're going to We have a little we're going to tap a couple times and bring that that tan layer. That's the frosting color there. Well, the frosting shape down a little bit and over a little bit. Let me show you what that looks like. So this solid, solid, solid line of brown is down and it's over, so you can't see it up here. You can't see it over here. This is gonna cause a shadow effect. So you zoom in so you can see it when I do it. If you put that on, multiply and then turn that opacity down, you'll be able to see through it and see the cookie texture. So I met about 53% opacity, and I think I'm going to blur it a little bit. So go to though magic want and the Blur Leibler. I think I'm gonna call it The Blur, since I don't know how to pronounce it. And let's blur to about nine or 10%. You have to be careful when you're blurring because you can end up making things look like they're floating, and then they have the shadow underneath. Um, so just kind of watched that look. Okay, that looks like a professionally decorated cookie that's been flooded with icing, and you can do all sorts of things. You can completely start over with a new layer of icing if you want to add some more details, so there you can see it looks like more icing on top of the ice, and you're already did, and that's cookies. See you tomorrow 19. Day 17: Hot Cocoa: today is hot cocoa. We're gonna use the snap tools. Let's see, What did they call snap snap tools, Snap to tools. We're gonna turn on the drawing guide, edit, drawing guide symmetry. And so when you hold it there, it's snaps to a nice, smooth line. I'm on a new layer and drawing assist is not on any Dacre of this year trying to draw kind of an ellipse here, hold it and let it snap at its shape. Let's drag the blue dot right to the top edge of that line on both sides. So we have our front of our mug and our Rym. I'm gonna show you how to use a reference layer. I want to drag and drop color into the cup itself. But if you turn this layer off, you can see I won't be able to do that because they don't have a complete shape. You have to have ah, completely enclosed shape to drag and drop. So if I go to a smaller size and I'm on that layer that has the mug shape, I'm gonna draw a line. Under the room is the mug and the symmetry was on. So it should have been drawing on the other side, and it was kind of invisible drawing. But I wanted to do that because I wanted it to be hidden under the rim. So wanted the rim to be on while I was drawing that line. It's all wavy, but that doesn't matter. And now I can drag and drop. Now I have a nice, smooth room above that. I'm gonna add a layer in between here and tap on the rim and bring up the menu and go to reference right there. Now go back to that new layer that's blank. It's going to be referencing that layer, So let's go toe a slightly darker blue, so we just can see the difference here. And I'm on the new layer. It doesn't say anything on it, and I'm dragging and dropping to that layer. It's not going to fill the hole layer. It's referencing this layer. So Fire Dragon dropped to this, the lips it it knows that I want to fill the ellipse, but it's honest, separate layer. All right, so you can turn reference off. Now I'm going to this fill that we just did, and I'm going to duplicate it on that top when I'm going to turn on Alfa Lock and pick a hot cocoa color. What's a good hot cocoa color? I'm gonna put that right there. You can change that if you like, and I'm going to fill that layer. Now I'm going to highlight that layer and just slide it down a little bit, Okay? I'm going to my eraser to the model line, and I'm going to erase this part that kind of exposed itself from under that rim. Okay? And now that has an illusion of having hot cocoa a little bit lower than the edge of the cup. I'm going to go to a layer under, have to drag it under under everything and let's go to this darker blue color. And we're not on drying assist because we don't want to mug handles. I think I might let the snap tool do its thing. Oh, that's a nice shape. Okay. And again, we need to, um, complete those shapes that shape in order to drag and drop. And Phil, let's go ahead and turn the drawing guide back off. The drawing guide kind of hid my little Sorry. My dogs air scratching at the door. Um, so I'm gonna erase So goto this layer it is on assisted gonna goto a pretty small eraser and just smooth that out a little bit. I'm actually gonna flatten that bottom a little bit, so we have our basic hot cocoa. We need to do a lot of texture and shading and highlighting. If you want to add any marsh millas, you can go to white Super duper white might be a little too white. Uh, I'll just stick with the monoline, but go little smile and just kind of draw the shape of a marshmallow cylinder shape and then you're going to be erasing part of it, so it looks like it's loading. You could duplicate that if you don't want to keep drawing them over and over and putting them in slightly different positions. And I'm just gonna combine them toe one layer and get to the eraser and kind of do a swirly little erase at the bottom so they look sunken in Let's Alfa lock those and go just to a slightly pinkish gray. Let me throw that in down there and you know, they do kind of have a texture to them. Let's disco toe, willow charcoal. And on that circular end of the marshmallow, this kind of get a little highlight. I guess it would be a shadow. Okay, Once you've dental of this, you can do some highlights and and some shadows. It's going to be a little bit different having the the rim be a completely separate layer. But if you think about how light reflects off a rim, it's It's OK. It's OK that it's a separate layer. So if you turn on Alfa Lock and go to that blue color and just kind of go toe a brighter version of it, we'll put it right there. This made a little bit lighter and go to the big cup player. I want to turn off drawing assist. Let's say the lights coming from over here. So whips. I did not have Alfa lock on. You could also do clipping masks, remember? So things were going to be lighter in some areas, maybe around the sides. They're going to be darker around the bottom. This is all just fun. It doesn't need to be precise. This dark blue layer is this one back here that's definitely going to be darker in there because of the, you know, just being inside the cup, and then you have your handle that's a little bit trickier. Inside the handles, a little darker above the handle is lighter. Maybe. Look around online for Cem pictures of that. If you want to move the handle, play with the size. Sometimes a pencil doesn't work for the move tools. Go ahead and duplicate this teal layer and drag that all the way down and fill it black and then move it down. Then you can do some erasing with maybe medium nozzle. No, or do the Goshen blur. Oops, you can't do that when it's on Al Pha lock, turn the opacity way down. I'll probably turn the opacity down for the majority of it and then darken the in middle with a soft airbrush. Okay, so I get a new layer so it has full opacity, then just kind of get some more dark areas right around the cut. If you want to add some, yeah, me textures. Do a clipping mask above the hot cocoa and maybe choose that brown. Sometimes you have to go back out of your palate and back again and go to a creamier color . Maybe people opaque do some yummy swirls in there. All sorts of fun things you can Dio. All right, there's hot cocoa. See you tomorrow. 20. Day 18: Candy: all right. Where are number 18? Candies for Candies. I was thinking about kind of some traditional Christmassy Candies. The little peppermint swirls, the little hard candy stripey ones. Maybe this swirly, um, of them wavy. I guess it would be things like that we're going to start with. We have the red and the white. Let's go ahead and start with a gray background again. I'm getting tired. A great, though, How about a bluish? And at some layers, we'll go to the big monoline to make, um, big candy dot That is it about 65%. Oops. We already did candy canes. We could go down way down and do some of those rectangle shaped Candies will just start with white, maybe a gumdrop. So it's kind of a dome on top in a flatter area, but with the rounded edges. There's also this gummy rings sprinkled with a sour sugar. Oops. You know what we could do instead of doing it that way, is go back to a big dot absolutely racer, and then erase the little All right. So we started out with white for everything, because what you can do now is just goto a clipping mask and add whatever colors you want right on top and it won't. You won't see the white. This red is that super bright red again. So let's bring it down a little. So go ahead, put that right there and I'm gonna go to studio Pen, gonna go up to about 60%. And because thes air, all all the white ones are on one layer, I can just do one could be mask above it and do stuff to each one without having to change layers. So if you think about having a center here that you're not going to go to go back down to about 40% or so, I'm not going to touch that center. I'm going to go close to the center and swirl out close to the center and swirl out as I pressed down for me. It's easier to do this instead of this, some starting out light and pressing down as they go. And then I'm going to erase that center. Doc, that was just kind of acting like a guideline for me. We're gonna do some highlights and shading afterwards. Right now I'm just going to get all the color on everything. So for this'll, I think I'm just gonna fill it in green. Maybe we'll do some Niko rule. Get some texture. It looks like a lifesaver. Right now, if you want to have, um some a texture Look on your Candies. You can do Nico rule all the way around and then do somebody racing. But Nico Rule doesn't have the tapered end. So just depends on the look you're going for. This is kind of a cool look, too. So this hasn't were textured. Look, overall, kind of like our candy cane day when we had a couple of different options for textures for our gumdrop. I want to make a red gumdrop. I'm stickin with willow charcoal and I'm going to do a few shades. So when it's dark in it on the bottom and maybe dark in it on the sides did you go a little brighter and do this all in one layer? I just can't play around with it. Maybe go a little orange er we talked about doing different colors. You come back down to a redder color now that we've got some orange on there and even darker and see that looks nice. Maybe put some speckles of white time there. Those speckles are just not specially enough for me. I think I'll go down to bonobo chop. So I gave it even more texture. Maybe even all the weight. Bright white, kind of makes it look like it had a little sugar on it. We're gonna sugar up this one as well. I'm gonna go ahead and go up one more layer to equipping mask to get this kind of sugared up looking. Now it is a clipping mask, which means that sugar is going to be very, you know, cut off around the edges. We're gonna have super blunt cut edges, which isn't really the look that I want. I think if we have a nice textured edge on, it's got a dry ink. If we have a nice textured edge on that base white layer So let's turn this off. Go around the edge. I'm not on. Wait here. Go Bigger said the textured edges a little even more pronounced. And then the sugary white powder look will a little bit more natural. Alright, let's try that. So clipping mask and bonobo. Chuck looks pretty good I think I might go to her green layer, darken it a little bit, So let's go to dry EQ. Just have some inner Dirk edges. Given a little dimension. Here we go. So did the top outer and the bottom inner. You could even go to a brighter green and put a highlight groups, maybe a blue rapacity. Let's go over to thes guys. These guys were super dark, kind of green and red and very streaky. So I'll go to that opaque Go to the red, and I want to remind myself what those look like. Oh, so he had green with white and yellow red with white and green. Let's try that. So let's do white in the middle and then some bright yellow for a yellow in the palate. It's like a teeny tiny yellow stripes. Then, for this one, you can go to read bigger, opaque place in streaky. Keep some of that white showing and then goto a white van, a green, maybe a little darker, smaller size do couple stripes. We don't need to make it look exactly like the picture, and now we'll go to the clipping mask above that that we used for the sugar on the other. Win. Actually, you know what? Let's go to a clipping mask up of that again. Because this time I want to put it on. Multiply. That way we can get some shadowing going on with our green and with our red. Maybe on this later that had the sugar on it. We can go toe white, really small size and get a kind of a glossy. I think the opacity is down on that layer. Nope, it's not. Maybe we'll go to a studio pen, get a shimmer on there. Gives it a bit of that glossy look so you can play around with those highlights as well. I think we're gonna skip this one so we don't go too much over our time. And there you have some candy. 21. Day 19: Gingerbread House: all right, We're on Day 19 gingerbread house, So go to symmetry and make sure it's on vertical. And let's just go to model line, go to your gingerbread color and think about house shapes so you have a roof, and that roof has a bit of thickness to it, and you have the sides of the house, and then you have the bottom of the house. Now I'm thinking about rounded corners because that's how cookies bake. So we're still on the icy and brush. We can go ahead and add a layer switch to white. I'm on the size. Amman is about 10% 0 that's to pick 6% for the icing brush. Oh, I'm on monoline. Sorry, I see brush. I like the icing brush because it is pressure sensitive. All right, so I'm on about 29 or 30% and I'm not on a clipping mask because I want to, um, have it go over the edge sometimes. But I am on an assisted layer now so that I have the symmetry tool has turned the background down and decorate your house. - We did not texturizing cookie, so let's go to a clipping mask above the cookie layer. Turn it on, multiply. Go to either one of those Brown's. I'll just go to the darker when this time and willow charcoal get some texture on their much more interesting, very delicious looking. All right, there's your gingerbread house. 22. Day 20: Star: we are on star today. I need Teoh. Hurry up, because this is gonna take a while. I created a star template that has a lot going on. It might be a little overwhelming in, um how much does going on there? And I'm realizing it's not perfectly straight. So if you go to the wrench tool, go to canvass. Turn on Drawing guide. Edit. Drawing guide Symmetry automatically goes to the vertical symmetry, which is great. And then, if you zoom way in, you can see the symmetry line. If you can't see it very well, go back in and turn up the thickness and opacity. And then maybe even change it to pink so you can see that symmetry line coming up through the star. I'll try to correct this stamp right now. The stamp is is crooked because that's how I saved the the template. Um, so if you just moving around, make sure Magnetics is off. So you have more flexibility with moving it, and you're I hand drew this star template, so it's not perfect. All the lines aren't exactly perfectly where they're supposed to be, But if you eyeball this pink center line or Whatever your color is for your, um, your symmetry, if you kind of eyeball it so that it's coming right down the middle on this top section, that's the most important part. You'll see that down here. It's not lined up with this little additional thing, and that's okay. This is your most important part right here. One point of the star from the centre to these little, um, vergis ease. I don't know whether called and then up to the point, you can do lots of changes to the star shape from here on up. So once you get your template down at a layer, um, decrease that, uh, opacity. And then let's turn on the drawing assist. Let's go to dry ink and this disco to this gray. I can't remember when we used that. Great. I'm going to about 37%. I'm on a new layer and have the symmetry on, and I'm not going to do this snap to Oh, that's way too big. Let's go down to 13%. I'm doing the center as well. Sometimes the center when symmetry is on is kind of tricky, So if that's the case, you can turn symmetry off and then do that center line. For now, I'm turning off the template, so it's not so visually disturbing there. And I'm just gonna do a heart. So let's turn it so that's kind of pointing towards you and do a pretty traditional heart. Then with your heart, I made sure it touched these edges at the bottom. Let's curl out. Let's touch those edges and thinking about metal how it would be welded to the edges of things. So just to little curls there, turn it back around. I'm going to layer under that and I'm selecting our middle tan cooky color and I'm going Teoh lips Jen's monoline big and I'm just gonna color in Oh, you know, we could put we could put drawing a cyst on and then you only have to color in one side. Okay, On top of that, I'm going to turn on a clipping mask and I'm going to my this brighter, creamy color here and to Nico rule Could be mask is not on. Um I mean, symmetry is not on so just kind of get some texture on their Sorry, I'm just changing my mind a lot here okay for the gray layer. I'm going to go above it, turn on a clipping mask and get a darker gray. So go back to that grand. Just slide it down darker a little bit and go to artists Cran let's turn on the a drying assist And I'm just gonna add some dark areas here, There. So the artist kran is very, very textured. I think I'll turn off drawing assist for that center line because it looks too weird this way. Turn off drying assist and then kind of randomly do that center line a little bit and really just scribbling here, I'm going to do this. Same being with a lighter grey, almost white of the stewed on that same layer right now, my, I'm gonna go down the center and then turn drying assist back on. All right, we're going to group all of the's together. So we have one unit, we're turning the star template back on, and we're going to duplicate the original group each time selected, and then just rotate and try to get it lined up. This is the most important part toe watch for Is this so getting it rotated so that it's parallel and then moved in, so there's no white showing behind it. Duplicate than the original again, Since moved down a little bit. Rotate duplicate the original duplicate the original. If you're running out of layers, you can flatten all of these duplicates so that they are each one layer. If you want to do some sort of, um, 10 pointed star, then you can, you know, make your star duplicate the whole thing and rotate it and put it on underside layer, and then it will be showing through there. We're not doing that today. We're actually going to make this star look like it's lit up. So I'm gonna go to the background color and make a nice dark sky, and we can turn off our drawing guide. I almost think that this is, um, to that the the yellow is a little too bright. If I wanted to change that, though, I have to change each one separately. So when you're doing this, make sure you're I'm getting that exactly how you want it. I guess one of the things I could do is erase with the Nico rule, so I think I'm on this this yellow layer here and then this yellow layer here, This kind of takes away of the symmetrical look, too. So I'm I'm taking away that creamy color and exposing that yellow underneath it. And I'm doing it one layer at a time because, um, I don't want emerge my layers. Well, even if I emerged my layers, I wouldn't be able to just erase, um, the creamy color who would erase all of it if I tried to erase. So that's a little better if you're not happy with that, and you want to change the hue, saturation brightness on something and see what that's doing there. That's going to be a little trickier to do, because you'll have to know exactly how you switched each one of those. So we'll just call that good for now, and I would probably make it a little darker next time so that the lights that were about to do will show up better. But that's okay for a tutorial. You're gonna be making all sorts of stars if you Google Christmas star or Christmas Star Tree topper. There's a ton of inspiration out there. I'm hoping this looks a little vintage All right. So for the lights and go into soft airbrush. I'm going to a bright yellow. I'm just gonna make a little light over here. Let's get a 10% and then we're gonna get lighter and lighter in the center, go down to about 5% and super light. Maybe that Yeah, pretty, pretty close toe white. Let's go and go toe white and let's go down to about 3%. Just put a little hot spot in the middle. We're gonna turn that layer on to the lighten blend mode and screen, and you can see when it goes on top. It really brightens everything you can just duplicate and place them around wherever you want. I would keep duplicating originals. If you run out of layers, you can, um, merged the ones you already have. But keep that original free so you can keep duplicating. All right, there you go. You can have all sorts of fun with your stars and your start template. I mean, a darkened this background even more. We have a nice glow effect coming out on some of these that are close to the edge. So that's kind of fun. I also played around with the you gonna and merge them all and play around with the the other lighten blend modes you can goto lighten. It didn't go a start as light. Their ad was really bright. You can drop the opacity down, so that's a totally different look. And really, really cool and bright color. Dodge was good. That was more yellow. Screen is what we were on. I think I like ad with the opacity about 50%. All right, see you tomorrow. 23. Day 21: Catch-Up Day + Little Additions: we're on 21 catch up or Kalash, which we're not doing the Kalash today. Today's really quick, actually. Oops, sorry about that. So 123456 So we started on candy cane. One of the things you can do for the candy canes to make him look a little bit more three dimensional is add another clipping mask and maybe go to black, turn it on, multiply and go to the airbrush soft brush. And do you know Cem some shading around just very light that almost made it look flat on top. So I'm not getting that shading quite right. But you get the idea, and then you should be able to do it on all of these and play around with blend modes and opacity and see what you like. Let's see. Linear burn. Some of them won't show up a swell on some colors. Um, or they won't show up at all on white, for example, I think the cookie I don't want to add if I if I were to add something to the cookie, honestly, I would just try to get more of a cut edge look, So maybe pick a lighter color, actually. And go to the six B. No taper pretty big size. Yeah, I don't know. I usually go darker on cut edges, but I'm a little worried That's gonna be too dark. Put that on, multiply well with that start and bring down the opacity to about 40%. So that kind of just gave a little bit of a cut A a thickness to it. Hot cocoa. I already did this. I did a multiply layer with the soft airbrush on top of this base mug color. And so that's the difference right there. So I just wanted it darker down there. The Candies. I did, um, add some shadowing, just like I just showed you on the candy canes to make them look a little thick. And I'm not going to add anything. If you wanted to add stuff to your gingerbread house, you could add candy. So I'm just gonna go to a fresh layer and go to read and go to my monoline big and just maybe add some Candies. I was not working, and then go to a clipping mask up of that and go to black and go to the soft airbrush in a really small size. Even smaller. I met 2% and I'm just going around the bottom of them just to kind of give him a sphere look. And then a white sharp studio pen for a little shiny spot so you can go around in an ad Candies to any even candy canes and the other Candies from the other day that we learned about I am going to erase and go to the icing brush. Okay, let's try to get a cuter looking little cabin e. I have a lot more that I show in my gingerbread house class that we just don't have time for on this And, of course, all the candy. The other thing you could do with the candy is erase part of the bottom of it. So if you tap and hold the eraser, it'll go to that icing brush. And then the candy looks sunken into the icy that way, kind of like the marshmallows on the hot cocoa looking like they're sinking into the hot cocoa. Okay, that's much better. One of the things I wanted to show you for the star and I can't even believe I forgot about this when we were working on the Star is the, um the brush I have down here called Flair and it is appropriate brush. So let's go toe. Is this a fresh layer? Yeah, fresh layer. And then maybe a creamy white. Let's go to a bright light so you can see just tapping when it looks like. And then if you slide that over, that gives it a much more lit up look. And then, of course, changing your going to the light and blend mode. Changing your blend mode, um, definitely adds, can add to that. That one makes it just like incredibly bright. Um, so yeah. 24. Day 22: Christmas Tree: All right, We're on Week four Christmas trees and lights We get to play with the multiply brush some more Jen's multiply, opaque, quash. And you know, I originally did it with this green. It looked a little too bright to me so I made this darker, little more Seiji Grey green. And we're gonna give that a try So this brush gets darker and darker when you overlap. So let's draw and let us snap. Um, straight line happened and then put your finger on it, and it will go to a perfectly vertical line. What? And I'm gonna move that down a little bit. You can change that and, you know, make it whiter at the bottom and make it look more, um, like a stump later. All right, new layer back to the green, back to Thean. Multiply. Oh, pick, Quash. And we're going to start with a wider base, just like a kind of a fun little frilly tree with a white base. And then we're going to a new layer. If we tried to stay on this layer and come up here, then we have a problem where it's overlapping. So we're going into a new layer and groups. That was kind of a weird shape there, and I'm making the width of it a little bit narrower than the width of this. I'm not worried about symmetry. I do. In real life for my Christmas tree. I have to admit, I really like symmetrical branches and we have a fake tree. So that's my my one thing I get to Dio he spent a long time shaping those branches. All right, so we just keep going at I'm gonna bring the size down so that I can get a tip on here on this last layer. You guys can add as many layers as you think you need, and I'm I'm keeping my tips on the ends. Um, lighter in color. Some try not toe do too many strokes. If you need to move the layer down something like that or even rotated a little bit, you can you really have a lot to play with with this method of, um, doing them all on separate layers. So I don't like how my top looks. I'm gonna go ahead and go to the race on the same brush. I'm not sure how the racers work for the multiply setting, but I'm just gonna point it out a little. And then I also noticed, down here on this layer, I don't like this struck right here. So I'm gonna come to that layer and just make it a little more swoopy instead of straight. Okay, so there's your basic tree. Come back down to your brown, you're brown stump there and go down to the brown and dry ink. Or, um, when the pencil brushes something with a lot of texture and get something down there little whiter, more natural looking rica draw your little pot of water that the tree goes in. I'm gonna dark head in the background because we're gonna light up this tree. You know what? It before we light it up, I want to show you something you can do to each one of the layers. And the simplest way is just to Alfa Lock. But you can do this, um, with a clipping mask, like we've been doing all these weeks. And so this was the green. We used to just go a little bit more yellow and a little bit lighter and go to the opaque, not the multiply, maybe even bring down the opacity And let's see what what layer were on the top layer. So just kind of maybe add some highlights that go up. If you were on the multiply, you wouldn't be able to see a lighter color. We come down in size, I'm going up instead of down Just so I can kind of lighten up my pressure when I get to the end and have it blend in more there and I'm focusing on lightning. The tips of the base of each of these layers go bigger size for this big layer at the bottom. It's just another way to add a little bit more dimension. I'm not liking this little section right here. So go just erase this little spot. Nope, cause then I just Okay, so that that shows Ah, good reason why you shouldn't use Alfa lock on everything. I can't erase this stroke that I want to erase right here because I'm not on a clipping mask. If I were on a clipping mask, I could. So instead, I can probably just go back to my green, go back to my multiply brash and cover it. Okay, so there's your tree and I'm not doing a string of lights. I'm doing light similar to what we did in the star. So we'll just go to this creamy yellow and we're just gonna put some lights in that aren't trying toe look realistic with string was Instead, you can decorate your tree however you like, and I feel like we need to put some texture on that, too. It came down in size on that 2% No, 3%. So trying to press very, very lightly and just throw some random lights on there you can turn the blur up, see if you like the look of Matt. You can add a little yellow. You're not quite that bright, You little yellow halo around. We did it some lights on the snow globe. You could do the Nico rule and do some textured, stylized lights, so I'm doing the yellow after the bright spot. Where is Honor star? We did the yellow first and then we got brighter and brighter towards the center. There's a lot of ways to do it and there's your tree and you have a little star stamp. You could put a pretty simple little, maybe on a new layer, just in case this doesn't work so well. Let's go bigger. We need that bigger. And let's just Alfa lock that and I don't know how about some? Make a rule. Let's get some texture on their Maybe put some glow behind it on the soft airbrush on a bigger size. Bigger, bigger 13% and let's go down to are stumped Alfa Luck. Go to that brown and then to spring it way down and go to Nico rule. Just do a little swipe on that pretty cute See you tomorrow. 25. Day 23: Gift: day 23 gift. So with gift, I would just, um maybe just go to Ah, really. Tiny monoline does the smallest. It'll go and pick a color. I'm gonna use the snap tool. Let's go with a square. Then they get rid of the dot I always get. And let's fill that in, go to the one above it and go toe much darker color. And we're gonna do a rectangle. I think it will make the a perfect rectangle if you put your finger down and then you can select it. But I must have a color. Yes, I have a dot. That's why that, um, highlight came way down here. Okay, so you select it, and if it's free farm on, you can go ahead and slide in the sides. And obviously you don't need to cover all of that because it's gonna be filled in. It's a little and even over there tap tap. All right, select both layers if you want to move it around. And honestly, um, let's just take one piece at a time if you want to do clipping mask over the top Goto white . Good. We're really did brush lice. This is doing a 45 degree angle. You can edit the shape if you want to slide that down and make him more evenly distanced. Something like that, maybe go to that base red color and shoes, a more orangey kind of peachy color. I'll put that in the palate, and we haven't used this damp brush too much. Let's go to the damp brush. Pretty big size. It's a 36% but it looks pretty big. Oops, we need to turn on Alfa Lock, so that doesn't happen. I don't know if you can see what it's doing. Let's turn the clipping mask off so you can see when you might need to go a little lighter to really make a difference here. So it's kind of a smeary, watery brush, maybe a more yellow color. Just have fun with this. Think of wrapping paper. How crazy is wrapping paper? I don't want to add any more colors to that and turn our clipping mask back on. I think I might even Alfa lock my clipping mask and add Cem really pale, similar colors to that kind of gives it a bit of a watercolor. You look maybe a brighter yellow. That was kind of a Dirk and then back over to the pinks. If you don't like the super crisp edge of the monoline brush, Obviously you you have a lot of experience now with all of the other brushes and at least the ones I've got for you and you can just adding a little more weight back in there. And you can on do all of this same exact thing. But in a textured brush, let's turn on that lid and turn on Alfa Luck and now slicked that color. And it didn't pop up up here. But if you go out of the palate and back in, then you're then you're at that color to go darker, and then maybe some parade orange can go bring that down after all. And if you don't like where the lines are lined up on your clipping mask layer, you can actually move the layer. See that? Now it's a little bit more even down here up here. Okay, I like that gift. I want to add a bow, and since you're looking straight on, then you're really only going to see a ribbon coming down. You're not going to see the top ribbon and usually boxes don't have a ribbon going this way . So let's hand draw a ribbon and get a little bit more of, ah, natural curves in here. I'm gonna pick one of these colors that we've already got down here. Just so it's matchy matchy. I might change my mind and make it more contrast. E These are technical terms I use. Okay, I'm going a little bit up and over the edge because I want the rib until look like it's higher and lower down here. You can go to the liquefy tool on push pretty big size and kind of, you know, give it a little more wave. I didn't quite make it very wavy. I already think that's a little too matchy matchy. So what do we want to do with that color? Maybe we can go to hue, saturation, brightness and find a color that who looks good with it or not. Maybe just no, maybe darker. Okay, I like that because I like Pumpkin Spice more than anything. So let's do pumpkin. And now I want to get that color on my brush. I saw a really cute, stylized ribbon. I'm kind of over trying to draw real ribbon. So this one was just kind of triangles coming to a middle point. Maybe you can have a little loop there. Look how cute that IHS. But of course, we need texture. I am going to I'm going to a clipping mask. I'm going to multiply. And I'm gonna stand that color and see what happens with our damp brush. So the damp brush if you if you don't press on it, it doesn't put a lot of color on. If you just kind of lightly press it, smears things around. And then if you tap, it's more, um colorful. My dog is waiting at the door. She's my shadow, But she also interrupts my videos. All right? Oh, my gosh. I'm really excited to make more of thes, but here is the one for our lesson. What color should be? Make the background. There you go. See you tomorrow. 26. Day 24: Ornaments: okay, Today's ornaments, like I already added a few layers. And now I'm just gonna just go to black. We're gonna do a solid circle. It doesn't matter what size. And if you just draw a circle and then try to hold your pencil still and then put your finger down, it makes a perfect circle. I always get that Mark. I think I do something wrong with my finger, and we're just gonna fill it in solid. So we have a solid color and not an outline drawing type of ornament. Ah, layer above that. Let's just go for now. Let's goto a gray. How about this gray right here? And we'll just stand monoline, but do a smaller size. If you really, really, really want this to be exactly in the center because we're about to do the little cap that ornaments have on top, you can turn your go to canvass, turn on drawing guide. Right now it's on symmetries of that line is there? Or you could go to the two D grid and make the grid size as biggest possible, which makes a two by two grid. If you do that Oh, I'm in a dark in that grid, just in case you can't see it on the camera. So if you do that, then you can select your not on a blank square. You can select your circle, and then you can see the museum weigh in if you ever went to zoom while something's selected. If you hold the the arrow down, you can zoom in and out without changing the size of the object. I typically just end up, um, un selecting and then re selecting. But if you get these blue dots lined up with the grid, then you'll be in the center. You can tap, tap, tap, tap tap to get small movements in the direction that you're tapping, and it doesn't need to be perfect. But now you have, ah, centered. Lying there are circle there with the lines and you can turn the great off. Go back to the layer above it. You know what? I guess we need that great back on so that we conceive the center. I'm not trying to make this a perfect little cap shape, but I am doing and kind of ah, cylinder. And then sometimes I don't know, maybe old school caps. Um, just have the little ridges along the bottom that you know what? Let's go ahead and make a teeny, tiny little hanging hook, and I'm going to group those two together. So they're just in one group, and I could duplicate that. So now you have a way to do multiple ornaments without having to redraw each time you could news many is you want this way, you can do a different shape, and then, um, just keep changing it up. All right? I'm going to show you something, Um, that we haven't tried yet in the other prompts. And that is to select a layer it, but drawn a different layer. So you have a black circle here. Doesn't matter what color that circle is. You can use this circle. You can definitely do your ornaments by clicking Elsa lock and then go into the color that you want and going Phil layer and then maybe go to a clipping mask just like we've been doing. Maybe do some, you know, highlights on it to make it look nice and spherical with your clipping mask, and then continue with clipping masks on top of that. But we're going to do something entirely different just so I can show you how this is done so you can use it in the future, just in case you don't know already. Of course. Um, it doesn't matter if the layer is on, but you're going to go to the layer. You want the shape to be selected of and tap, select and then go to a new fresh layer. If you can't see the selection lions while you're working, you can go to the, um, wrench tool and go to preferences and go here to selection, mask visibility and slide that up and you can make it quite quite obvious where your drawing that's a little bit too obvious. Hopefully, you can still see that in the video. Now you're on this fresh layer and you can do whatever you want, so you can just do your favorite things here. If you enjoyed the, um, water coloring look with that damp brush, we're just gonna play around here getting some fun colors on the ornament. Yeah, that was a little too dark. One thing when you have the selection like this is it will pull from white. It's not pulling white is just kind of pulling all of the ink and freeing up a blank spot over here. So I try to go towards the edges. And so I have a nice, crisp edge and not ah, weird fuzzy border once this election is turned off. So that's kind of a crazy water calorie look, we'll just stick with that. You can do multiple layers. This selection is still on. You can go to a new layer and try out different colors. So whatever you want to do, I'm gonna go ahead, emerge. Those oh, my merge Just cause this election to go away. So that's good to know. If you need that selection back, you can just go selected again and go up to that layer or to the next layer. I'm going to turn on my caps, so just have an idea of where this top is. And you know, I don't necessarily need this election on. I can start using clipping masks and things like that either way. So let's go to the clipping mask and maybe linear burn. And I'm wondering if a gray would work for just getting some Spiric als. Look here going on so we don't have a flat ornament. So if you want to put some highlights, you can go to another clipping mask. I think I want Teoh. Try a yellow, try one of these, um, golden yellows for my highlights and then try a blend mode on that. Go to the lightened ones. Yeah, I'm not sure Screen seems to work. Think I'll turn the opacity down on that a little bit? Here we go. Let's come back down to her base ornament color and put a clipping mask under the's shadows and highlights we have so that any designs we want to do are also going to have the shadows and highlights affecting those. So let's just go toe white and then maybe icing maybe six feet. Um, I don't know what to do. Let's give it a try. I'm on dry ink, and if you do straight things, it's going to look flat. If you do curved things that are kind of perfectly curved up or down, it will give it a curved look. Kind of like we did with the candy canes. I feel like I'm not really on white. Yeah, I really wasn't on white part of this is I'm just, um, under those shadows, too, so you can have a lot of fun with ornaments if you go to this cap player. Maybe just duplicated. I think we'll go ahead and use that and bring one up to the top. Turn off the clipping mask. It just automatically made it a clipping mask. This is ALS kind of overlapping a little bit onto the ornament. So if that's not a lookie want to, you can move that clipping mask and let's go to a really light gray and a pretty small, dry ink. And I'm just gonna kind of do a little, uh, line where the two separate the sides from the top and then just do some to some rough lines, that kind of show, maybe a bit of a ridged look, maybe a little bit of highlights down there. You're basically just kind of giving it a little bit of a metal look. So it's not solid gray, although I do think I want it lighter gray. So I think I'll just go ahead and go to the willow charcoal and maybe give it a little bit of ah, curved look as well by doing a little shadowing on the sides and then keeping the middle, um, pretty light. And there's your ornament. I know this this world's were, um, just simple swirls, but that's obviously something that you can, you know, Alfa, lock that layer. And if you think back to our snowflake, um, what would be a good contrast in color for those oranges? If you think back to our snowflake where we did some, um, coloring like this, you can do all sorts of things with with your designs that you put on top of your ornaments . See you tomorrow. 27. Day 25: Stocking: day 25 were on stocking. I do have a stocking stamp brush up here. It looks like a cookie dough, but it's generally the shape that I'm going for. Today. I am going to choose a textured brush, so drink. I'm in about 18%. And if you think about having kind of around the rectangle and then come down and I'm added angle cause it's hanging from the chimney there, that chimney the mantle. Okay, so play around with that, trying to get a similar shape. Honestly, there's a lot of stock in ships out there. They're super long ones with kind of a little pointy toes and not very big of a rim that air straight B. There's, of course, the little Elfi ones. So I'm kind of liking even this little line here, But this top part, I was going to do in a different color. So I'm going to turn my background color down. Let's just go to a gray here, and I'm gonna erase this so I can try again with white up here, all right, and on a new layer going to curve curve. But the ends, I'm not sure Dragon Drop is gonna work. So that didn't work because this some somewhere along this line, the pixels are, um, forming at Gap so you can go around it again. Or you could just turn that brush size up and color it in and get a nice bubbly texture. Can you see that texture and then the red layer as well? I'm actually going to this slightly darker red. I'm going to go ahead and add a little hanging loop. Let's lighten that gray layer a little bit, all right, so there's some base color there for each for the white layer. Let's make a clipping mask and let's just get I don't know. What did we use this one for? I don't remember, but it's just slightly down into the gray from the red and let's go to I think Willow charcoal will give it a very fuzzy look. Let's go really big on that. Can you see that it might not be a dark enough change in color, maybe a little darker of a gray in a smaller size for around we don't want. We could make it look vintage e, but we don't want it to make toe look dirty then go back to Bright White and breaking it up a little bit. Here and there. Let's go to the layer above red clipping mask. I was gonna multiply for this and let's go to the red color we had. It'll be darker with our multiply on and let's check out artists cran artist. Crime gets pretty big, so it's hard to see what this is gonna look like. It's kind of a neat look would be darker down here, and I'm thinking about when we did our elf go to it, another layer clipping mask and turn the blend mode on contrast and vivid light. And I think we stayed with that same we were using Gray. What does the Red Dio? Well, that's quite neon. Let's go over to this great right here and see what that does, impressing really lightly. It's not doing anything. Why is that not doing anything? Okay, lets see. Race that layer. Let's go back to that red. And even though that was Super neon, we can turn that capacity down. And then, if you remember one of the lessons I talked about having more than one color, the stocking is just solid red. So I'm gonna alfa lock that. And just like we did with the present, I'm gonna play around with some some colors that are pretty close to the red, but just a little different and just kind of gave it a different interesting look. It's changing the base color under these clipping masks. That one right there, maybe more of a dark pink. I don't think I like the dark. Maybe have brighter pink lips. That's kind of fun. We're losing our classic red, but that's okay. You can add a little more red beckon. I'm liking this bottom part. If you went on the white layer to, um, also have it's good of that dry ink have maybe some stitch lines on the heel and the toe. Um, you can kind of given embroidered faux embroidered initials on there. I'm all sorts of things. I want to add some more color to the base white on here, So I'm going to add I'm say Alfa Lock and I'm going to actually this icy blue and to actually the stick with the artist Cran I don't know what this is gonna dio haven't tested this. I don't know. Maybe a really pale pink, maybe a yellow. Maybe I'm being a little carried away here, So I want a shadow underneath this because we want this to look nice and fluffy, and I have a ball to play layer right here already. That's on top of my stocking color. So I'm going to that basic medium gray there. And let's just go to the willow charcoal. I'm just kind of adding a little bit there. Maybe while we're at it became kind of durkin up. Some small areas of some of these edges make homeless look less flat. I still feel like this white looks a little flat. So cool. Do our willow charcoal around this edge to and I am turning the Alfa lock off now on the white. I think I'm going to try to smear it a little bit. Maybe with the opaque brush. What I'm doing is just kind of giving a little fluffed edge. So have the capacity down to 68% or so. I'm not sure that really matters at sea. I am pressing a little bit hard and I'm trying not to drag cause it'll smear all of that, so I'm just just barely grabbing the tip. The edge, I should say of the white. There's your stocking hope. I just realized we haven't done any texture in on this. So let's just go back to this multiply layer. And why is that not working? Oh, because I'm on the Samir brush. Here we go. Let's give a little something there. Here we go. Teach world. 28. Day 26: Santa: today it is 26 Santa. So I think what I'm going to do is do a Santa that looks like this. And then on the catch up day, I'll show you how to do a Santa. No, get some layers on there and maybe turn the background down a little bit too gray. All right, so here's our are our little face color we had, like, we are going to do some dragging and dropping and try to keep this simple and quick. Let's make a only streamline is really high on that from the other day. It doesn't quite go where I put it. When that happens, I make it a perfect circle. We're gonna be covering it with stuff, so it doesn't really matter. It won't look so circular at the end. And now that I have that circle there, I'll just go ahead and go to the 60 brush because the neck we might actually see his his neck. I'm going to give him a figure neck because he's big Santa. Actually, we're not even going to see his neck because of his beard. So you don't even have to do that part on a layer above that. We're going to put Hiss red belly. Let's go ahead and go back to Monoline. And we had a little tiny little shape for the elf. But we're gonna give Santa a big a round belly. Let's go with circle just for now. And then we can move it to the center off the head there. I think I'm gonna leave it a circle again. We'll be covering him up with all sorts of things here and on another layer on top of the head. We're going Teoh White Beard and we're going to Theo. Oh, pick wash brush that we used for the gnome beard. I'm not quite going, um, as crazy with this beard as I did with the gnome, but But I like the street. He look to that. So for the beard, if you think about his ears being here and here, I'm not even worrying about drawing ears because I think the hat will cover all of that in the beard. But beards come from the ear down. Oh, I'm not on top of the red. I need to be on top of the red too. So the ear down. And if you give his face a little. Let's just give it a little mouth. We're gonna erase that later. Um, and little ice. We're just gonna throw in this on there for a reference. Then we can go back to our beard lier, and we can really get those beard hairs where they need to be. And maybe hiss mustache really just kind of recovers everything. So we have swoops up here like this, and then everything else except a little mouth area. It's going to have lovely streaks. Now, you can make your beard nice and crazy long or have Cem separate points to it like this. You could a little bit messier. I wouldn't go gnome crazy with it. But it's all how you When did you? Yours. So all right. I need to save time, so I'm gonna just call that good. I'm not gonna cover his whole belly because I want to, you know, show he has big 1,000,000,000 a black belt. Later, I'm going to another layer up here above the beard. And let's see. I think I'll stick with this same brush and I'm going to put hiss crazy. Wide brimmed hat gone. I want to make it look a little fuzzy. Sell. Go around. Make sure I touched the beard, Um, top of the beard there so that you don't have to worry about years. I need to go to a layer under that white hat, Bram to go back to the hap color there while the red hat color Let's go. Let's just go ahead and go toe to dry ink. Let's start with a little dome like we did on the Elf. And then let's just can't go down the elf habit more kind of off to the side. Then we're going to go to that hat, brim back, toe white, back to quash and put a little proof there. Well, let's go above hiss belly and get a belt on him. Black. Let's do six B, no taper and clipping mask so it doesn't go off the edge of the belly and just dio, I'm just gonna do a low wide, not quite that wide, And then we'll do. A. A silver buckle could be a light gray and a smaller size on our brush there. It's a lot t smell like that. I want to come back to his face. Let's clear this. And let's go Teoh a brown. How about that Dark brown and put this layer on Multiply like we did with the elf. And I think we're on dry ink, so come down in size and we're gonna give him jolly little squinty eyes just like the elf. And I'm going to give him a pink nose from that pink in here for you. Well, I think we're on six B, but that's OK, pink nose. And let's just go a little darker for the mouth. And I don't think he really need Teoh to do much for the mouth. Just have some color in there, and then maybe we can fix that beard layer. Um, get it a little bit more precise up in here with a smaller size brush. The other thing we can do is get a gray and maybe not quite that dark. And get some some streaks in here, something like that. All right, we're gonna go back down to the face and just let's turn Alfa lock on. I don't think we need a clipping mask for this simple little job we're gonna do here. Let's go back to that pink. We did for the nose and go to Willow Trickle. If you remember the rosy cheeks we did on the elf, Mrs. Try some rosy cheeks here. I'm not sure he needs much more than that. If you want a dark in, they're texturizing his face. You can do that. And he needs some boots, arms, legs, important things. Since when? I have ah, pretty a sharp edge brush using that model and brush for his body. Well, I was going to stick with that, but I think I'll I'll change that by adding, um, a textured brush to that. It's not on l flock. And since this is on a clipping mask, I should be able to adjust this. And this was a justus. Well, so give you an example of that? If I add to this well, I need to add more black to that, but you can see where the black was extending is now showing on top of, um on top of the red here. So I'm just going to give him a textured edge. We can look a little fuzzy, go back to that clipping mask and go back to black and just fill in that over there. I want his arms to appear to be above his beard. Maybe not. Let's go up here to a separate later, above the belt and go back to our red. I'm actually going to go a little. Let's go a little lighter so we can see it on top of this red. So it's not exactly the same. And I'm kind of I'm thinking about giving him shoulders. He is having pointy little arms like the elf, but not quite as then because he's Santa Sums hiding his shoulders behind his beard and he's just gonna be holding his belly. Let's see, I think we can go ahead and go back down to this body layer and go to that red same red and give him again pointy. But whiter legs. I'm not going too far down because we're just gonna put boots on it and it will cover it up anyways, so basically added some triangles down here. So go back up here to the arm layer. I think it's OK to go ahead. Put black boots on that arm layer rectangle. He's gonna be a little pigeon toed Santa, play around with boots and let's give him some mittens. I was going to do black Mittens, but I think it's gonna, um, overlapped the black belt. So let's do green mittens and I'm still on the arm layer. So a mitten is gonna have the little thumb and then the big section that has all the fingers. Little firm, big section. It has all the fingers and on top of that layer, going to white and just for consistency and going to the wash brush for a little spot there like that. And I think he's done, except for some text oring. So at this point, if you just go to like the red hat layer, make a clipping mask, go to that red turn that could be masked to multiply and maybe go to trusty willow charcoal and do the same thing for his belly. I'm going under the built, turning it on multiply. He's going to be darker around underneath his beard, maybe darker down here. It doesn't really matter how you do this part. Let's do a clipping mask above the arms, mittens and boots. Put that on hold to play. So that's ending up again, kind of going back to being too similar in color. If you did a Santa that has an exposed center line, you could actually do a white, a white trimmed coat. We're headed trying to go dark on those arms just so they stand out a little. So I pressed a little harder. You could also just go to a darker, and I also ended up on the hiss green mittens. So the better way to have done for me to have done that was just to go to Gray, and that would have darkened everything. All right, so that works, all right. You can play around with texture in his boots and belts. And one thing I am noticing after mentioning that white coat, um, rim train. My guess is I'm wondering if we could test that with our quash brush, and I'm on the later that's on the very top with. I think that's cute. And then I want to go under that built and do that under the belt, too. So let's go toe clipping mask under the belt. I love him. All right, see you tomorrow. 29. Day 27: Owl: Okay, We're on 27 Christmas Owl. You may have noticed earlier when you see this, that this said Nativity scene. I tried really hard to get a decent nativity scene in a short period of time, and I couldn't do it. So I'm switching two owl, and I've got the cubist owl to show you. You may also notice that I have everything showing with a nice textured background. So except this one I havent done yet, but I will. I will show you. That was all, Uh, tomorrow. All right, Your owl. Your owl is going to be the cutest owl. I'm going to start with this brown and let's just throw a bunch of layers on their Let's turn the that ground took Ray like we've been doing and just he's, ah, smaller brush like drink or six b. We're gonna be making an oval. So if you're not comfortable with ovals, you can use the snap to and then at its shape, that usually doesn't work with my finger. I mean, my pencil and I have to switch to my finger, so we're making it. Well, I guess this is officially an ellipse, so it's not too skinny and it's not too wide. This is just our guide. Once you get your lips, figure out where the center is just eyeballing it and then figure out where the quarter is above that. This is going to be where your noses. So let's go ahead and sketch a little triangle with a curved top and then your eyes air going to basically fill this space. If you go to a new layer, you can do a snap to circle filling that hole space. You get a perfect circle, and I'm filling the space between the nose and the side. It could even overlap cause you're not gonna see this part at all. But my point is you want to get a pretty good size there, and since it's on a new layer, you can just duplicate it. Select the new one, and if you're on magnetic, you can slide it over and a song as you see that blue line. You know that you're going directly over and you're keeping them in line with each other, so my nose must not have been in the center because it's a little off. But I've got the circles lined up perfectly over there. Okay, so here's our guide. It's very, very, very basic. We can merge it all into one. If you can get your fingers to do that. And this is going to be approximately the, um, the bottom of the head, I guess, would be a good way to say it. We can turn that super low. We really aren't going to need it very much. And let's go to a new layer. And this time go to your Jen's opaque squash on a pretty big setting, and we're just gonna fill in. We're going with a certain direction, and we're gonna fill in everything with Brown except our eye area. Just so we can kind of keep a general idea of where that I area is so on the belly, I'm gonna turn my opacity up so you can see it on the belly. We're going to be making our lines coming in. So in the this direction, in the very front, it's going to be straight down. But, you know, just think about an owl on a tree and that cute little belly area. So I've covered up my little line there where the the body meets the head. But that's OK. Oops, that wasn't OK. And then around the eyes, let's go to a new layer. And if it helps to have a darker color or just some sort of different colors, you can see the difference. Then go ahead and do that. I'm gonna make little little marks around the eyes, and I am overlapping into that I whole and over that knows I am gonna make thes a little longer down here just a little bit. We're gonna be covering all of this up, but there will be some of the dark brown showing in the background. So it is good to get a nice, solid layer on there. Let's go under that that layer we just did. Just so we're on a new layer if we want to mess with it and goes straight up for the head just to fill the rest of the head in. And I am overlapping that guideline we had and I'm going in the direction kind of perpendicular to the guideline as I go around. So if the guideline is this way, I'm going this way. Okay, behind this owl body layer So on the a layer underneath. I'm going to stick with my darker brown and I'm going to throw some little wings over here , some starting around the bottom of the eye area. And I'm not going out too far, but I want them to be noticeable. States can be a short little owl here with big wings. Maybe a pygmy l I don't know my else. Okay, so we've got four layers. Well, we have one outline layer here, too, Which we don't really need any more if it's easier to turn it off. You know, on that, um, wing layer. Since it's underneath this layer, I'm going to fill in all these lighter areas. I just want a nice, solid color or solid layer, I guess. Okay, Let it with that background color showing through so much. Let's start lightning him up. So we're on the wing layer. I put a beige color over here. This was our elf face color and so right under and Santa right under it is a nice beige. I'm still on that same brush. We're basically using lips. I'm on the wrong layer. I'm on the right layer for the wings. That's what I was intending to do here, so I'm not going to fill the whole area in for his wings. I'm leaving dark around the edges, Some in his humans. You can see how streaky that looks, so make sure you're not filling in. And then let's go above that body layer, this lighter brown body layer. I'm just going on a new layer above it. Let's go to a bigger size here. And so the reason I did a new layer is because I can then mess around with the color. If I'm not super happy with this color, actually, you know what I'm not super happy with right now is how short his body ISS. I think what I might do is go back to that brown on that body layer and just bring it down a little more. So forget about your lips that we drew. Let's just bring this down a little more, All right? And then let's go back to this layer back to that color. But I'm not sure I like this either. I kind of liked that short owl. Now that I look at it this way, so maybe let's undo that, Okay, that on this body layer. I am actually going to add quite a few colors. So here this color between the blue and the green. If you do that in the middle, it helps make it look a little bit more poofed out and, um, closer to the viewer. So a little bit more plump oven our here. I'm pressing so lightly with this, and I am still on that layer, just the one layer on top of the brown. All right, let's go up above the I layer, and that layer that we threw behind it is going to completely separate layer and do the same thing. Let's go under that layer so this could be our top layer and maybe just come down right here to a darker color and get some more color up there, impressing really, really lightly. But one of the things you can do if you want to switch to the multiply brush is, um, those Remember when you overlap your strokes, that one gets darker and darker, so if you want to do some actual shading, if you switch to that brush, then as you make strokes it gets darker and darker. And this is the nose area, and it does get darker in that nose area. So that's kind of a nice area to do that. So you can see how that how dark that isjust from taking this same color that I used up here, but with a different brush. Okay, so I'm going to stop there with the feathery parts and turn my outline layer on and kind of get an idea of where that knows, goes so right in the middle there. Let's go. For now, let's go above that light I area And let's choose that, um, color right here in the middle again. I'm gonna go ahead and choose like dry ink, and I'm gonna make a little triangle. I have outlined later on, so it's kind of blocking that view for you. I'm making kind of a roundy triangle, so it's pointing down. It's coming to a point, but not a sharp point. And then it's got curved sides, and it's got a curved upper kind of looks like candy corn, actually. All right, I'm just gonna alfa lock that and get some texture on it. So let's go to a dark brown and I don't think I want these streaks on it. So let's just go toe willow, charcoal for now and just get some. It really want it darker around the edges. I might even go even darker than this. I don't like going all the way to black, but going pretty close. And then that's through that underneath this bright layer here, kind of being covered up by those feathers so you can see that layer where we did them multiply goulash. You can see now how it's nice and dark above the nose, and I'm going to darken it below the beak. I keep saying knows, but it's, I guess, a beak. All right, let's go to the eyes. This is going to look funny and just you just have to trust me here. When I look at the ice on the size, we have them in our outline drawing, and I'm seeing not very many of the light feathers around it, especially on the inside. I might not do that exact size, but I'm going to solid black and then I'm gonna just kind of come over and up a tiny bit. So it's It really still looks black, but we're really doing a super duper dark brown. So I had selected that Brown and I'm way down here by black and we're gonna just going to do a nice crisp this This won't show up in the end. So for now, just to a nice, crisp black circle go ahead and trace that circle we had tap to make it a circle Since you're on a new layer Oops, I have my black start over here. Since you're on a new layer, you can select it and change the size of it. If you're in uniform, you can bring that size down a little bit. Turn off that outline, layer and I'm gonna try to just get an idea of how big I want this to be. Okay? We're just gonna focus on one. I I did drop in drag and drop the Phil. Um, we're gonna start with a big, giant, solid black eye and go above it, and we're gonna go back to our wash for the color. I really liked this sugar cookie. 1/3 went down, and I'm kind of gonna toggle between some of these a little bit when you zoom in here and down to about 10%. See if that's good, all right. And when a big, giant black pupil and the rest is gonna be hiss iris like us. So let's start with a circle tap and hold Get somewhat eyeballed to the center. So this is going to be his people. And now we're just kind of filling in. I hope you can see how streaky this looks. You can do this with a gorgeous with a green eye blue. I I don't even know what color eyes owls have. This is going to get some more colors added to it. But let's go to this lightest cooky color and a smaller brush size maybe 4%. I'm gonna leave some black, um, and and I'm not on a clipping mask, and that is because I want to be able to go over the edge of this black. So I'm gonna leave some black between the color I'm about to do and oops, I want to be on a different cup layer here. I'm gonna come up to about 8%. So I am. I'm just going around the outer edge of our black circle. This color is the same color as this feathers around it, so that's not really working for me. But we can change that. If you don't like that, I think I might make it lighter. So we have a nice light ring around that if you select that and just brighten it up a little bit. Not solid white, but a little bit brighter That works. I'm gonna go back down to our golden color, and I am going to add a little bit more just filling in that black a little bit. Hopefully, you can see I want some of that black showing. I just don't want it to be solid blacks. I'm getting some streaks on there, okay? And now I want to go darker. So I'm not sure if this is dark. And if I think I'm just gonna pull this down, Teoh, pretty dark. Go back up in size. And if you think about the top half of the I just going over it a little bit too dark in that iris, some only going on top of that golden iris color. You can do a new layer if you want. I might dark and not even more. And then let's go back to that gold color. And let's just go up to that middle cooky color. We're gonna lighten the bottom, not the whole half. But just this bottom quarter, I guess so. The original color is still showing through, but it's predominantly over here and over here now we'll go to a layer. We could actually just go to this later that our outer ring was on and go to a super bright white and maybe six B no taper. I'm on about 25% and right around the people where it meets the iris. Just give put a couple a bigger spot in a smaller spot and for some reason that just automatically makes it look like a shiny domed. I It's kind of magical to me how that works, all right, so let's select all three of those layers and group them. They have them all in when group and duplicate it. Once you're super happy with it to stew, placated and move it over. Make sure Magnetics is on so you can get it directly across. And then just tryingto, I bow kind of based on that knows where it needs to be if you feel like they're too big. You can adjust their size right now. I feel like they might be a little bit too big. Um, I don't know if I can adjust the size at the same time. It probably will mess with their location, but let's try it. I think so. You can keep him the same sighs symmetrically that works. I'm going under to that great layer, and I'm going to darken it a little bit. So I'm gonna go to the opaque multiply brush and just go to let's let's go to that, um, tan color there. So if you do lots of strokes, it's gonna darken. I'm just putting, um, a tiny bit around the edge of the either. Just It kind of makes it look a little bit sunken in a little. All right, you got the general idea, and now we will go to a layer underneath and go to Let's do dry ink, and I'm gonna show you a super simple foot so dry a little, um, skinny elipse like this again, and then draw a smaller one on one side and a smaller one on the other side. Once you have it the way you like it go ahead and duplicate it, and then you can place them super cute little feet down there. And I'm I'm gonna go to the bottom layer here and go to add insert photo and come back up to our, um, the one we did the cardinal on. If you go in and safe as a PNG, then you can just bring in your branch to save the branch as a PNG and your Alice sitting on a branch, I'm gonna quickly show you how to just get a Santa hat on him. I did a new layer, so I don't ruin him and just kind of come from appear by when I and down across deny to where the bottom of this head meets the wing there. Go on a layer under that for your red. Let's go back up to the hat brand to white. So then you can, of course, do some clipping masks and some general shady like we've done in the past. And then I'm going under the all of the hat layers because he needs a little shading down here, so it looks like it fits better. So if you put that layer and multiply Let's just do soft airbrush and see how that goes. I did go over the edge over here, so I'm just gonna erase this part where he went over and there's your Christmas owl. 30. Day 28: Final Info & Farewell!: all right. We're on our very last day. We're on catch up day for the fourth week and, you know, looking at my tree, I besides doing background stuff. I didn't change me tree. Oh, I changed the star a little bit. I erased with Nico Rule tiny girl just to kind of rough up the edges of our star stamp. And then I did a lot of Nico rule behind everything for some color and background. I'll show you that on this one. So I didn't change anything about thes two. I didn't change anything about this one. I darkened the Santa's belly on a multiply clipping mask. Just so the arms stood out a little more. I also shifted his arm around a little bit. It was a little wonky and made him kind of more holding his belt buckle there. I think I put Snow in the background here and and then I wanted to show you the difference with the first owl that I did compared to the owl that I did with you. So this one's got a smaller head. If I turn off the hat layers and that shadow layer so you can see has a smaller head in a bigger body. I mean, there's a ton of owl, um, shapes and sizes out there. So if you if you see you next to each other, I know I can't get them to go next to each other. Of course you can. Um, you can see he's got a He's a short little guy with bigger eyes and their wider apart. He's a taller guy and their eyes are closer together, so they're all going to look different. And I'm so excited to see yours. Um, let's go through these really quickly. I just put some white dots with dry ink and used the damp brush played around with color on the background. I did the same thing with this one. This one, Um, I played around more kind of hoping to have a sunset. Look, this one. I also use the damp brush. He seems like he's floating in the air here. I'm you'll have to just maybe used the cardinal on other designs here. I gave him quite a stormy look with all the snow behind him and used Nico rule really lightly to get it to be less solid back there so it looks a little more like it's in the distance. This one. I tried to make it look like it's sitting on a table with some shadowing and really bad it shadowing. So don't copy me there and some grade and gray and white Nico rules or swish, swish and then the driven snow and some shadowing underneath those guys. This one I tried to do kind of like the snow globe and make it look like it was on a table and then give it some glow around it. I wasn't quite sure what to do with this one, so I just did some blue and snow. Same with the reef. I think we could add a big boat to the wreath. Maybe someone will do that. Uh, no miss sitting on table with some shadowing all Neko rule here, I put her out in a snowstorm. She's still married and happy. So I just did kind of the same kind of sweeping back and forth with Nico rule. I just put snow on the candy canes behind the candy canes. Of course, more Nico rule the cookies more Nico rule and I wanted to show you another cookie idea with just some, um, I seem like you might use on a gingerbread house where you do your own designs instead of doing the Phil. I did a little bit of highlighting, which we didn't do before. And then I was gonna, um, talk to you about playing around with the angle of a cookies. If you made a plate of cookies and they're all like this, it's great. But it's gonna look like you're just staring down from the top and a plate of cookies and eso you if you maybe look at a reference photo at a plate of cookies that you're looking at from the side, they're all the shapes are obviously going to be very different then from when you're looking at the top so you can do the same techniques. But just get the shapes, um, different. I just threw some Nico rule in the back. Yeah, you've seen a pattern. I'm sure. Um, candy. I was going to spend some time trying to draw a bowl of candy, but I haven't done that yet. We had some family emergency is going on here, so I'm just trying to get this done. Um I just showed you some changes to that. The star. I just for some reason just love the background on this star. There is black Nico Rule back here and dark, dark, dark blue. But I can't. It just happens. There's some times where I just get the right colors. Somehow, it's not that I go. Oh, this star would look good with these colors in the background, and then this will make it look like the backgrounds glowing. It's just trial and error. So I sit there with all these different layers and both two different colors and go over with nickel rule nickel rule, usually on the biggest setting of Nico rule, and just roll around and roll around and lighten and darken and just play. You can see here I have this background along with this background, and then the white snow is on top of everything except for that shadow under the tree, of course, is on the snow. I actually like it with just black back there, too, so you could just maybe add some driven snow in. It's very pill faded if you just barely press and then it's much more bright. If you press harder says something like that. Oops. Uh, the gift. I didn't spend a lot of time on this. Um, I had a hard time finding the colors I wanted to use for this, but what was really throwing me off was the the rare use of this super crisp edges that we did on this. So it doesn't fit the Nico rule to me, it just doesn't having a Negro rule background. And that's super sharp. Crisp box doesn't match to me. So I might come back and erase there, I erase. I could Yeah. I'm gonna have to erase if I want to make it a texture background. I mean, a textured edge. Then I'm gonna have to come through with a textured erase brush. And if you do that base layer, it's going to apply to the could be masked too. So that's nice. And then, of course, to our lead to me, that seems to fit that the Nico rule background a little more. I'm not sure like these colors still, but that's something that just takes time to figure out. Just hanging in the galaxy, stocking mining. Santa needs some snow. It's no already selected It's good Santa. Some snow. I've got it behind him so it doesn't cover him up. Um And then, of course, our owls. I just love these. I think these are my favorite. I press gallery too many times. So let me show you on our ornament. Just even Sidney Cho rule back here. Let's go with I like to start. Need to rule with a dark background. It doesn't have to be black, but just dark and then on a layer underneath your work. Take a rule, man. Actually, let's go to black And I'm on the biggest setting and I'm just swirling around a man may be You could do a different layer each time so you can adjust each layer. I tend to just I regret not doing different layers when I do this, but I I just can't play around like this. So I'm not trying to make pieces of art that are, um, going to be posted for sale. I'm not finalising that are in any way right now. And trying to make it look like is something that somebody might want to a print of. For example, I'm just mostly just kind of making our are drawing prompts. Look a little bit more, Um, like they're not hanging in the air, I guess, and play around with opacity. And then for this guy, I think I am going to go to the icing rush and stand black. Good. A pretty big size and a new layer and make a bit of ah, ornament hangar Swirly. Um, it kind of goes well with our look we've got going on down here, and then you can move that ornament, so it looks like it's hanging on that. My dog. My dad really wants to come in. I'm almost 10 dog. That's Layla of Layla and Post Studio. All right, so in order to make it look like it is going through there, I'm gonna go ahead any race. I'm not super worried about erasing that small of a piece. So fight Asi, race this tiny little side over here. Then it looks like it's up and over and then behind, and we just off centered it. But that's OK. And you can play around. Of course, with that, that doodle a swell. All right, that's the end. If you haven't been able to keep up with us. I hope you still continue to post. And I had so much fun making this. I'd love feedback. And I'd love to maybe do another similar thing for a future. Maybe spring, Um, other holidays. I know that. You know, there's a lot more winter holidays than Christmas. I'm not familiar enough with them to really do much with them. So I am sticking with Christmas for now. And, um, I hope you guys had fun. I I know that, um, these can be pretty pretty daunting on some of these are a little more exciting to me than others. I feel like I could have done a little more with the lights on the tree. I think maybe somebody can do a lot with ornaments and super bright lights. Maybe with a clipping mask set to Armenia. Ah, layer of blending mode layer to make him brighter. What if we could do that right here? Here we go. We made him a little brighter. There we go. So have fun. And why? If you're done, I hope you did have fun. And if you're still working on it, I hope you, uh, continue to have fun and continue posting. I'm not gonna close the the, um, posts ability and and Merry Christmas 31. Bonus: Llama: Hey, everyone. I wanted to show you the llama the I drew a while ago. It promised you guys a little demo. I used dry ink and just one other really light. I think I used to the cookie colors, the lightest one. And the first thing you want to do is just draw a, um, elixir, I guess. And it really doesn't have to be perfect because you're just gonna be making it all fluffy like this around the edges. I'm going to color this in instead of drag and drop because I want to keep the texture of this brush. All humans. You can see that I didn't see the texture. If you drag and drop, it won't have any of that. So I basically made a cloud. I might lower that a little bit. And for the legs, start with just four. I'm on my big setting on the dry, dry ink, and I'm not coming straight down from the side over here, coming in a little bit and making two legs, that air sort of close together over here and then come from the back and him in a little bit and two legs that are close together over here and for the neck. I'm going pretty tall with the neck. So if you take the total height you have here and go up again that tall. So I basically doubled the height of it by going up Not quite a bit. And I am just coming out from the front. So from this front of the cloud ellipse shape you have, I'm going to make almost just a straight up and down. I'm curving it here of the back of the neck, proving the top of the head there and and then coming in around here. So this isn't quite straight up and down. If it were, it would still be okay. I just like to have the haven't looked like the head is leaning back a little bit. Someone had put a little bit of the back of his head over here and fill this in and maybe make it that same bumpy, furry, fluffy llama texture around the edges and four the nose area. Just come start with a little bit of a triangle just to keep it simple and then put a ball on the end of that triangle, then just kinda Maybe those cheek that cheek area right down here and then start smoothing out those spaces where those all those shapes meet. I think I'm gonna make his neck a little bit thicker here. Down here for the legs. Draw triangles. Leave, um, this skinny part of the leg down here and then come up about 1/3 of the way and draw a little triangle just like that. So you're pointing upside down triangle, and then I'm gonna give without that fluffy texture, too. I think we may have gone a little bit too high with this head, so let's select that and lower a little bit for hiss ears. Go to a smaller size. I met about 20% and think of a curved part of a banana. So just 1/2 of the banana like that. We're going to curve the other ear that way, and the year that's on this side of the head would be starting about down here, So that's your base lama shape. If you can play around with the length of the legs, go to a layer above it and turn it into a clipping mask and then go to the slightly darker . He's worth e cookie colors for the sugar cookie. And for this I'm just going toe artists Creon going pretty big and I'm just gonna give him texture all over. I'm gonna zoom in so you can see what I'm doing here. I'm leaving the snout with less texture. I'm going to add another clipping mask and a darker color. This one's a little too orange. So I'm going to pull that down towards thes gray colors here. And this time I'm getting Nico rule pretty big size and just very lightly kind of swirl your brush And then I am going to change the blend mode to color burn no linear burn, maybe lighten it a little. So just play around with blend modes. I think I like normal, actually well to play and then go a tiny bit darker. Just pull that down towards ST down just a tiny bit. And this is where you're going to make your legs look a little bit more separated. So I know I'm going to stay with Nico rule, but I'm going to just darken this back leg right here very carefully, go to a smaller size and then this very front leg, so it looks like it's behind the other one. So can you see what I did there? And now this looks like it's on this side of the llama, and then these two look like they're on the other side of the lama. It's just a really simple way to give that look. I will add a new clipping mask and go to pretty much black. I kind of go over to the brown side over here and just goto this six b no taper to a big size, and I'm just putting some black down here or dark brown right at its feet. I'm also going to put the facial features now, since those darker colors were clipping masks. You can you can go back here and, um, choose an eraser brush. Maybe that's just a gentle maybe that willow charcoal and sort of lighten up that I area so they don't have his fluffy of for in that area, and then go back to the layer where you darkened your feet and stay on that dark black. I mean this switch to my tapered six B and trying to figure out how to explain where I put the I, um You just come up from the neck right here and I've just been playing around with these sleepy looking eyes and then the nostril, so you you could just see part of the nostril that goes off to that side. And then this nostril kind of like a teardrop shape. And that's but that comes down and in the mouth, this pink right here. I can't remember what we used these colors for anymore. And I'm still on the same clipping mask, and I'm just adding a little bit of pink inside the ear. There, you could put this on, multiply it, darkens that pink. So play around with blend mode to see what you like. And there's your basic llama or alpaca. I'm actually not sure how to tell the difference. So someone will be able to tell. I'm sure to start adding the decorations that, um, you might want to do for Christmas. Just go. Don't choose a clipping mask. Just keep going on higher layers and, um, ad, you know, maybe a rug on its back. No, that wasn't a solid enough. Let's see. Studio pin. That should work. And then maybe some frill lookout line. There's a ton of really cute little lama rug licks with tassels hanging down all sorts of colors on the back. There on the rug itself. You could do another layer with some Christmas lights and just think about where they might be wrapped around. Once you get those where you want them, I just evenly spaced little marks coming down from the light. I'm just going to show you one line of lights Here. You can do these all on one layer and then go to you can make your lights. There's a lot of ways to make your lights. I used this bright yellow, bright red bright green and this teal here and on a new layer. That's not the layer that your green lines are on a layer above it. Just pick a good size for how everyone? Your lights. That's probably too big for a llama. Um, pick what shape you want your lights. So if I have four colors that I'm going to do Blue when 1234 can't go that way anymore. 1234 1234 right and they're going to keep going. All the way around. All those switch to a new color. Maybe don't choose a color that's the same as that rug color, because once they overlap up here, they might be hard to see. Once you have those lights on the all of the strands you can duplicate and you're going to do the blur on one layer. I need to remind myself up here, which so I did. Oh, I didn't play with blend modes there. Okay, so on the bottom layer, I'm going to do Alfa Lock, turn them white, and then I'm going to uncheck the Alfa Lock, go over and turn the blur up to about 12 13 14%. You can play around with that. Play around with blend modes on your both both of those layers. Actually, this kind of looks cool. So I have the white blurred layer underneath the colorful layer, and I have the colorful layer on color burn, and it gives it a pretty neat look. It's showing the texture of the llama underneath it, too. And then the darker your background color, the more that might stand out for the llamas hat. You've done plenty of practice with hats probably with gnomes and the Santa so didn't play around with. I'm gonna go to dry brush strike. Think, um, you could erase the ears if you want, if you want the hat to fit on just right in the ears or in the way. But if you don't want to mess with the ears, but you also want them to be, um, not in the way from this hat. So right now, right now, if I left those years there, I wouldn't be able to make my hat like this because that you're sticking out. You could try to make your hat showing and you're sticking out, or I can show you what you can do without having to erase those ears and still hide them. So let's just get a little hat shape going on here. You know, if you go down to this main glom at player and tap on it and tap a mask, you have now added a layer above your llama, and it's the brighter blue. So you're on that layer. So right now you're on the llama layer, and if you have the brighter blue showing your on the mass clear, you can now erased those ears, so you'll want a solid brush like the model line, and you'll want to be on solid black. So if you think of black as an eraser and a zoom, and so you can see that better and your full lama is still there, so if I take this hat off, it looks like you've erased that years. But if you decide you want to make your llama into something that's not Christmassy, and you want to just remove that hat, you can also uncheck this layer mask and those ears they're still there. If you erased too much, let's say we have our hat back on and you accidentally erased down here and I'm saying erased. But im it's really just the army racing on the layer mask. If you need to bring that back, you can just go to solid white and fill it back in. So white, um adds back in black removes from the layer mask and grade as different transparency's. So now the years air out of the way, and you can make that shape of the hat in any way you like. My hat had those reindeer horns on it you'll want when behind the hat. So just choose an ace Brown to stay on the model link. And I went under the hat and at an antler over there and one above the hat and an antler over here. And then you can either do clipping masks on those or just do Alfa lock on those and play around with some shadowing. Absolutely. Or my on this one make him look a little fuzzy. And then, of course, your Lille play around more with clipping masks and on that hat and all sorts of things for the it was gonna group this all together for the rest of this llama design. So here's the original Lemony Dead. I just went and added the other things that we've been doing in class. So although for background let me show you what I did for background. I have this teal for the background and I did a white lier with Nico rule fairly transparent. Oh, I did turn the transparency down on the layer itself to 51% and I did okay, Another kind of a darker See, if I turn this off, it's hard to see it. I did a darker teal with Nico rule on top of the white and it doesn't look like much right now. If I toggle it, you can see it doesn't make that big of a difference. But he actually does with the snowflake clear. This layer is also on overly For the blend mode. I have a dark teal on multiply Neko rule for the ground. My snowflakes These are just the snowflakes we did on day when I just added Ah whole bunch of them in and copied and pasted and place them where they wanted them. And this one is set to the contrast setting of blend modes too soft light. And this is where this teal layer seemed toe make a difference with those snowflakes. This was Allah just experimenting, so they kind of blend into the background. I added the winter tree over there, and I put the little owl in the tree, which was our very last prompt. You might not be there yet. If you're skipping around. Hi. Put our gift's. I used a duplicated and, um used the hue saturation brightness to make the one gift we made in the prompt in the tutorial into three different colored gifts. Same thing with the ornaments. Just used hue, saturation, brightness. Our Christmas tree prompt. Oops. That's the llama we just did. Here's the red I did for this one. I used some texture on top as well. And the lights for this one. I did the lights more of a traditional lightbulb shape, and I hand drew each one. So they're kind of, um not consistent sizes. Oops. We go back up here and then the hat, and that's all. So I don't know. I didn't really come back to this. I probably would want to add some snow down here, and, um, I can't wait to see what you guys to if you do the llama prompt and and, uh, explode Christmas all over that page. All right, see you tomorrow. 32. Bonus: Paper Star Part 1: All right, We're going to do the paper star. So go to Hubley already. Did the star um prompt that? We did. I don't know what day it was. So you go to this star template and I don't know if you know this about the stamps, but their pressure sensitive. So if you are just randomly trying to get a good size, you have to play around a lot like that with the pencil. But if you use your finger, it's going to be the same size no matter what. So you can really adjust your size and just use your finger. If you really need that to be consistent, that's for stamps in general. I'm going to go into canvas and drawing guide, edit, drawing guide symmetry. And you don't need to turn these things up. But I am so you can see it. Actually, you know what I need to make that guide color pink or something bright. That's not not like the star itself. I am lining up the star prompt on my guideline for the symmetry, and that symmetry is just on vertical. Hopefully, it didn't do that too quickly. I think I wouldn't make that star bigger. So I'm gonna turn on magnetic so it stays in the middle and just pinch open. And let's turn that down. So for the paper star, just go to the monoline brush and go to this smallest setting. Think about what color you want. Your star. I did a red one. Um, already. So I'm going to do going to do a greenish blue when? So we have symmetry on, but it's not on this layer, so we need to tap on it. Actually, miss, start down here. Let's step on it and do drawing assist and start. Let it snap to a straight line. Sure, that's closed it down there. You don't have to follow the line of the guide. You could be down here. You could be anywhere you went along. This as long as this part is following the guide, this part above these intersections don't need to. So we'll just go ahead and follow the guide for now and drag and drop. So I'm gonna go ahead and turn that guide off on a clipping layer above it. Not with the symmetry on the drawing. Assist on. I am going to a pretty light gray. I'll turn that layer on multiply and we're just going to darken 1/2 of this. So I'm drawing right along that guideline, but on this side of it, let it snap, and I'm looking along the line to see that it iss straight. I could also put my finger on it, and it will make it snap into that straight. Let me do that again. It makes it snap into that vertical position and you can see him just to the side of that pink line. And now I just need to, you know, it's invisible. What I just did just now because it's a clipping mask. But I'm I just kind of connected the top to the bottom so I can drag and drop that color. We'll turn the clipping mask on so you can see that. Well, it looks like I have a line over here I drew to. So that doesn't matter, because, um, it's a clipping mask. So the only thing that's gonna show is what's up of your your green. So as long as you're happy with your two tones, think about a bright side and a shadowed side. If you think you want a slightly different shade of gray, You don't have to keep redoing it. You can tap on it and go to hue, saturation, brightness and kind of dark, unenlightened that gray this way. So I just lightened in a tiny bit. And now we're going to add, Well, actually, in a wet let's go down here to a clipping mask in between those two. So it automatically turned that into a clipping mask. Choose this green and then come over and make it a little bit darker, maybe a little bit bluer. Think about some, um, designs that are not going to be lights. They're just going to be little patterns showing up on the paper, cause this is gonna look like paper. And I am turning drawing assist on You can look at some designs online for inspiration for paper stars and then just, um, think about where your lights will be shining through. I'm going to be adding lights inside of all of these spaces. I did it on a different layer, in case you want to change the color. So you you can now change these two colors. All three of these, actually independently. If you need to, and this is going to be duplicated five times, so there's going to be a lot of layers on this. But if you need to start condensing layers and you really happy with your color traces, you can merge these things. You can merge them all toe one. I'm not gonna do that quite yet, though, So let's leave it like that. And then let's think about lights. For now, I'm just going to choose a really bright turquoise. I'm on a new layer. It's not a clipping mask, but I think it would be fine if it was drawing assist so that it's going to use the symmetry on both sides here. And my paper star in my kitchen has tissue paper where the light is shining through. So before it was faded, the tissue paper had different colors, and the light shone through a little bit pink and some and a little bit yellow and some others, so you can think of it that way where you can just think of it as, um, bright light coming through. We're just doing one color for all of our lights. I'm gonna erase a couple spots here and I'm going to go ahead and dark and the background so we can start seeing how bright this is going to look. So we need to duplicate this layer and on that top layer, we're going to blur it. Let's just start with about 13% and we're going to turn the blend mode, go to lighten and then add it just brightened it a little bit. You can come back and play around with that later and maybe even change the brightness of depending on how much blue you went to show through. If you brighten it, it turns very white can change this to All right, I'm going to turn that drawing guide off and really take a look what we've got here. Once we start duplicating our star Thies this corner this, um, middle spot right here is really needing to be precise. So I'm gonna come back down here and erase this little jagged piece here and I'm thinking about if I like that green if I like that blue. Okay, so when so you think you're happy with all of those, go ahead and group them together. If you have enough layers to do it this way, you'll be able to edit things later, but you're going to need to duplicate this four more times. So you have five total. And so that's like 20 layers. So, depending on how big you made yours and which ipad you have, you may not want to do it quite like this. You may want to go ahead and combine those. If you combine these ones with the blend mode altered, it changes the look of it. So if you can keep that and how about let's just do group those three? I like to just make it look like that, so it kind of hides it and duplicate. Keep going back down to this bottom one to duplicate. Until you have five. Turn your star designed back on and start rotating. Turn Magnetics off. So I'm lining up. Let me turn the background layer a little bit brighter again. I'm lining up this middle line of this point with the middle line of this star of this start point, I guess, and then I'm putting it into position in the middle here, go to another one. So this step is similar to what you did with the other star in the tutorial and then turn your star template off the middle might be a little bit messy. You can fuss around with that, and other than that, you can leave it just like this. I switched. I flipped a couple of my points around because I imagined maybe a light shining down from this direction and how that would shadow things. So the shadow is currently on this side of this point, and I think it should be on the other side so I can just clip it and re place it where it goes. And he delighted that better. And then this one probably would be shaded down here so you can select that one and flip it . And now you have to dark sides together and to light sides together. I think it looks fine. But if you want to make a line in between those, you can kind of go to that green color and then go a little bit darker. Maybe go back up to Monoline and draw a line there. So I just did those on a separate layer in case I want to remove those There You go underneath the whole star drag a layer down here. I picked a neutral color and just went to my six b No, Taper. I'm actually going Teoh group all of these together so I could move this down a little. This star is bigger than the ones that have already done. Okay, And then underneath just draw kind of the cord. If you were really trying to make it look like a paper star for getting at dark background , I use Nico rule, go to a dark and then just start playing around up some money racer. So all of any go rule things you see on my work is just experimental. So just play around with what you think it might look like with light coming out of it from back there. If the outer edges are the darkest, then it will look brighter behind it. You can also Alfa lock this layer and our can not a little bit 33. Bonus: Paper Star Part 2: so this star doesn't look quite as bright as the other stars I've done. I think if you played around with the brightness on your, um, your layers here, it would be better to do that before you do all this duplicating. But I'll show you one more thing. This is a little bit time intensive. If I open up all these groups, if I know that I have these exactly in the place that I want them, I do have a little gap right here. So I might want to fix that before I do. And I'm about to dio. So once you know, you have him exactly where you want them. You can start dragging all of your matching layers together. Went 2345 and grouping them. So here we have the blurred layer. Here we have the blurred layer went 2345 This one is not the blurred layer right here. Group those Oh, it's not letting me do that, cause that's not even same group. Okay, so now you have each layer totally separate, but their combined. So you have you can mess around with the brightness and the blend mode and the color on each of these layers. That's good at this one. Maybe blur this one a little bit more. Make it look brighter. Play around with those blend modes, anything to add to look to the brightest. I'm not liking my background here. There's your paper star. You can go ahead and adjust that green. Maybe if the green where little darker the lights would look brighter. Change these before you start changing these two months you could duplicate, So just turn the green went off and change this one, and you'll have lots of options that way, although my green line is still there. So if you remember that green line, we added here in here. So the best way to fix that is to actually make that humble to play layer and lighten it up a little bit with the transparency and then whatever color your star ISS. It would be better if this were actually a great Tom. So if you changed out toe alfa, lock gray and then fill layer so that was gray instead of green, those two lines put in on multiply. Now it's a darker purple on this purple when, but if I stern, the purple went off and turn the green one on its dark green on the green one. And it would continue to And for for any darker colors, it would just be a darker shadow. Look, it was like that purple in. Okay, have fun. 34. Bonus: Plaid: okay. I wanted to show you how to do the plaid with some explanation instead of just the video that I posted without me talking. Find a plaid. You really like this picture was crooked, some trained to straighten it out, and you need to find the sort of the single. Um, I don't know how to explain it just though, So there is a repeating patterns. You need to find the smallest section that you confined in the pattern. So there's a lot of ways to find it so that the green isn't a complete pattern, obviously, because it's not including the purple. But if you look at this blue line, you can see that that is the basic pattern that repeats if you go over here if you go down here, good down here. You could do that middle black line on the little black line trio there. So however you can find your pattern, you're the base design in your pattern. That's what you need toe to spot. So I'm going to do blue. I'm gonna go ahead and do this blue, and I'm just gonna go ahead and do that box around it just so I can kind of keep everything , figure it out and decide where everything should go. That looks like the middle. And maybe this is the quarter. Okay? And then I'm going to just happen. Hold for this colors. This started new palette and get these All you need is the so I don't need this color because this color is where purple and green overlap. But they were purple and purple overlap. You need that color. You don't need that color cause that's where black and purple overlap. And so just you just get the couple of base colors you're gonna need this black and this green in this purple and this blue Let's see, there isn't a good spot where the blue and the blue overlap. It's probably under my line here, find a good blue maybe a little bit brighter and black, kind of not quite black. It's a pretty dark gray. So instead of having this here, I'm going to have it, um, picture and picture or split screen. So just save that as a PNG. You can look at it over here. My canvas size is 10 by 10. So at 300 deep ei, that's 3000 by 3000 pixels and will lead to know that later. To make our repeat pattern, I'm gonna go ahead and decide what color we want This base canvas color to be. I think we'll just go with the green Oops for the symmetry setting, Go to canvass, drawing guide, edit drawing guide And, um, you're just leaving it on the grid. You actually don't have to have the grid on if it helps you. Actually, if you want to go ahead and turn the grid size all the way up, you can see where the middle is of your campus, and that will help you with your design over here. And then, if you turn on drawing assist with the even though it's not on symmetry, what's going to happen is you will be able to draw perfectly straight lines, and you'll need to use the monoline big brush and go pretty big. And the reason why you need straight lines is for turning this into a repeat pattern. This side has to be identical to this side, so if this were a thicker line over here in a thinner line over here, then when the pattern repeats it will not match up in the same top to bottom. So in our design we have pretty much 1/4 of it as this purple on the bottom quarter and the top quarter. And then, if you look going up and down this way, same thing. Oops. Before you do that, you need a new layer. So any directional change and color change you're going to go to a new layer. Turn on drawing assist if it's easier to go ahead and do some erasing. At this point, I use lose color brown texture brushes. She has Lynn and brushes woven Um, then see woven paper textures and they're all fabulous, and you can just pick which one you like. I turn the assisted drawing off before I erase and do one swoop to cover all of it. And now you can see where the two purples overlap. It's darker. And then where they don't overlap, it's later. Now we have the black lines turn on it, drawing assist on a new layer. Go to that black and they're pretty small. Looks like we have went down the middle, and before I change my size, I'm going to a new layer, Turn on drying assist and I'm going to go ahead and do my three lines over here. A swell. Now I need a whiter black Oh, you know what? I have another thin black line down here. Looks like it's a little dinner. Go back down to my black lines that are vertical. I had a couple more vertical lines to that one, and now I have some whiter black lines. So I'm on my vertical layer going to go up to a whiter, a little bit lighter and my horizontal layer. The reason you're doing vertical and horizontal on separate layers is because, um when you do your erasing, then you get this Look where, when they're overlapping their darker. If this were on the same layer as this, then the erasing in that spot would make them look identical. So it would look the same as this. Okay, so now we need to do some erasing on our black layers. Turn assist off, and finally we have. If you look over here, you can see we have green and blue around the edges. So for green, I'm going to actually bring it down to the bottom I'm going to select that green that we have there. No, I think I am gonna keep it on top. Turn on a drying assist and I'm going to try to line it up. Right by that black at another layer form a horizontal during assist. Turn off drying, assist the race. And finally our blue. The blue is going to fill to the edge. Make sure you overlap the edge and don't leave any gaps. I'm going right up to the green had another layer. Eternal dryness is erase. He race and so far we have all the colors we need. But I want to fix a couple things. You can see my purple behind the black here, and if you look here, the green is behind the black. But the purple isn't so. I'm gonna erase a little bit of the purple if you go to the purple layer drawing assist purple layer, drawing assist and go to any racer brush that we used to write with. So the monoline big brush. I'm on my horizontal purple layers, so I'm just going to try to erase what's under the black. Can you see what I've done there And the same with the vertical purples. And finally, I want to add some texture to the green. So I'm going to an empty layer down at the very bottom, and I go into that green and you can either just put that layer on multiply so that the green will turn out a little darker and then fill that layer and then do your erase with your texture brush. So that's one way. If that looks a little dark, you can play around with the hue saturation. We're sorry b m capacity. So that was one way. Or you can use the texture brush for your actual brush. I still have the layer on multiply and fill it in That way. I actually think I want it to be a brighter green was try brighter. Oh, it's unable to play. Put it back on normal if you're gonna go brighter. All right. We don't need this anymore, so we'll swipe that over. I am going to take my, um, layer that has the black horizontal stripes and just tap to move it up a little bit, fixed a couple of problems there, So when you're looking at your design, you need to also look at what layer is on top of other layers and how they overlap. And they do look a little different if you move them around. So I move in my green, um, thin little green lines under the black. And I think I'm gonna move my blue as well. So the black overlaps all of those colors now blacks on top. If you want their purple to stand out more, you could duplicate each of those two layers. So get this based design exactly how you want it. You can turn that guide off now. You don't need that guy it anymore and then receive it as a P and G or a J peg. We don't need to worry about if it's a PNG, because we don't have ah, transparent background, um, issue. Okay, I'm gonna go into a new canvas. I'm gonna show you two ways to make your repeating pattern. So if you add in the when you just made and then do that four times or just duplicate, duplicate, duplicate, select all of these put on Magnetics. And I'm actually also going to turn on the drawing guide at it Guide and put the grid size up so that I can see where the, uh, middle of my paper is with Magnetics on. I can decrease the size all the way down to the center. This is eyeballing it. This isn't gonna be if you get it, pixel perfect. It's gonna be sheer luck. So I wouldn't recommend this method for, um, doing spoon flour designs, for example. All right, so now you just want a tap on when and keep Magnetics on, and you can slide it straight up and try to get it into place without any white showing. Select the next one. It's over. It's like the next one. So I didn't actually want to slide it up to the corner. You can see I have a white gap here. I didn't even realize I had. And I have white gaps over here and over here you can continue toe fuss around with this. If this is the method that you want to use, um, and if you don't want to purchase a different app, that will make this much easier. So once you get it all into place, you can save that image and do the same thing and it'll get smaller and smaller. The design will get smaller and smaller. So the other thing you can dio is purchase this pixel mater app and push this plus line create image custom down here is where you make your dimensions. So 3000 by 3000 pixels and then create slide this over so you can see the layers press this plus sign to add that photo that we made have our design and then tap on it. Oops, I just deleted it. Tap on it. Duplicated tap, duplicate, tap duplicate Decrease the size It'll snap right into the perfect spot 1500 by 1500 and then tap and duplicate and they snap into the spots where they need to be. And there's no guesswork like in procreate. And if you accidentally, um, select a different one while this is off the campus, it does not crop it, so you can still go back and put it back into place. All right, so that is obviously much quicker and easier than what we did. And then you can open it in procreate If you tap opened in another app. I'm just going to, um, copied of photos And then I'm going to delete these and what's and add the one we just made in copied into photos and decrease the size of that one. Duplicated, duplicated, duplicated. So you could just keep going and going. Okay, I'm going to go ahead and open this in procreate and show you the bow really quick. This is going to open as the very 1st 1 in the gallery, and it'll look empty like this until you tap on it. 35. Bonus: Plaid Bow: So it's just one layer. And to make the bow, um, if you want to just copy this layer so you can keep when fresh. I used the ribbon tool and go to rectangle and select a section that I want my bow to have my docket snoring And tap that and three finger swipe, cut and paste Sunday Have a selection of your plan. You can just use this same selection a couple of times and I'm going to do the same thing. I'm gonna grab a section of that flips. It wasn't on the right layer. Grab a section of that three fingers, white cut and paste. And for now, just turn that one off. So now we have this one small section of plant and I'm been adding I've been turning on Alfa Lock and adding a little layer. You know how the ribbon has kind of an edging. So I've been adding a little black along the edges and then I select it tap warp and advanced mesh. I really have just been I don't know exactly too much about this all these dots and what you can dio. But I just have been playing around Sometimes my pencil tool doesn't work, and I have to use my fingers just playing around and get kind of a bow shape and then duplicate that. Take the lower when and tap uniforms. You can move it, rotated a little and trying to get I'm gonna zemin's you can see this going to try to get this black line tow line up with this black line. I'm gonna go back up to this one warp mash. Just make it may be that, uh, that black line curved a little bit just experimenting here, and then I'm back on this one. And since that one is behind and I'm on Alfa Lock, I'm gonna go ahead and do air Brash. I'm on a dark color and just kind of give it a darker look in there. Ideally, I think this would be more rounded looking, but I haven't figured out exactly the best way to do that part. Okay, so now you have those. You can go ahead, merge them if you're happy and duplicate and flip one and slide it over. Now you can merge both of those duplicate. Make one a little bit smaller. Oops. Maybe rotated a little bit. Duplicate that one and bring it to them. Bottom of those three. I'm gonna flip it this way so it's rotated in the up up. But that didn't work. So I will rotate those so they come up, however you want your boat. A look. This was just a way to get Have three loops on each side. I am going to come back to one of my strips and select a small rectangle. Work advanced and just give it a little bit of around the look I for granted. Put in on a separate lier. Then that needs to be on the very top. We've got into place. Might play around with that size a little bit more. This did not have our rip and edge on it yet then this one's just going to turn into the tail. It's just kind of play around with how you went. Those and you can just duplicate that and rotate it. Flip it, play around with the shadowing underneath it, and then you have your boat you can erase, so it looks like it hasn't cut edge down there. Play that's easy enough to see. I think this needs to be played around with, but I am going to leave it at that, a rate thanks for everything