From Painting to Product Simplified!

1. Course Introduction: Have you ever dreamed of seeing your art on products? It is so much fun to make this happen. The challenge has always been to be able to do this without having to buy expensive equipment and software and learn how to make technical repeat patterns. It's a lot. I've worked on that for you and simplify the process. Yeah. I'll show you a variety of ways for both capturing that high resolution image and preparing it for printing. But first, we're going to create a floral patterns specifically designed for products. I'll show you how to go from this to this. This pouch is just one of the many products you've been ordered with your artwork, there are dozens and it's so exciting to where your artwork or have it on items that you use every day around the house. Hi, I'm Susanna alert and my passion is creating art that exudes joy and encouraging you to express your creative spirit, which I believe we all possess. I didn't start painting and tell us about 52. And I've learned just about everything and online classes. Just like this. I now licensed my art for products. I sell originals, prints and various products on my website, as well as teaching online. In fact, I now have over 34,000 students online around the world, which just blows my mind and it makes me so happy. I used to be terrified though, at the thought of even learning to paint. Not that many years ago. I had always done something creative, like knitting and crocheting some clothing. But I thought painting was for real artists and I didn't think that was me. So that's why I've become the teacher that I needed. A super encouraging and real person, relaxed, fun, supportive, not overly technical. As a teacher, I pay attention to the mental and fears, struggles and creating because that's what helped me back for years. Of course, I also teach a technique and composition and what different media can do and how to tap into your own creative spirit and style, because that's what I'm about. This class is packed with over 4 h of instruction for every step along the way and all of the options that I researched that were the best ones. The way we design this floral pattern and capture the high resolution image allows us to have it printed on products in a way that doesn't require knowing how to create a technical repeat pattern. I've included lot of, a lot of reference images from the gorgeous books that I use in the class. There'll be sure to download the class resources. So we'll start with a supply video and a couple of inspiration videos at the beginning. And then we'll start creating this artwork step-by-step with some practice beforehand. Once we finished the artwork, then I'll walk you through the different ways, three ways to get your high resolution image, and then two ways for editing. You will see how I use my scanner and edit in Photoshop, but we'll look at other options because most of you won't have that equipment. Alright, I am thrilled to have you here. So let's get started and get your artwork on some products. It's so fun. 2. About this Project: Let's dive into this project and a little more detail. We're going to design a floral that because of the way it's created, will allow us to use it for products as is without having to create a technical repeat pattern. That's kinda one of my hex. And this class, we'll paint the design step-by-step. Then I'll show you how to scan it and clean it up to be printed on products. I'll also show you ways that you can get that done without expensive equipment or software. So we'll start with supply videos that cover much more than you need. And then we'll look at gorgeous sources of inspiration. And I'm going to put a lot of those in the downloads. So make sure you check that we'll practice drawing the elements. And after we're done with our painting, I'll walk you through everything to do to get ready, get ready to be printed on products. I'm so excited to see your own work on products. For you to wear a dress or scar For have a pouch with your art is a great feeling. Please post your projects to the project galleries. Easy to do. Just snap a photo with your phone. And when you're in the class, just select Projects and Resources tab, and then click the neon green button that says Create Project to upload your photo. You can also ask questions or start a conversation in the discussions tab, I love interacting with you. I read all of my comp, all the comments and reply myself. And don't forget, there's a lot of resources including a supply list for you to download. There's links to these downloads in the class description and also in the project description. Under projects and resources, lots of places you just see download resources here. I can't wait to see your designs and the products you create with them. Tag me on social at Suzanne allergy so I can see what you made or at Suzanne our design, either one. Alright, let's get creating Woohoo. 3. Let's Look at Supplies: Okay, so for supplies, I just want to give you my little supply of speech, which is that I really want to encourage you to use what you have and look through the video and don't think you have to have everything that I show you because I'd rather you create. Then let the idea of not having the right supply, which doesn't even exist, keep you on, hold you back. So he may look, look at this and say, Oh, I really want to get those acrylics or really want to get those grams or whatever. And that's great. I mean, that's what I do. Right. But I just don't want you to feel like you have to have these things to do this. So that's just my supply of disclaimer. So let's take a look at supplies in the class. So we have paint, of course. So we're going to start with, I did the bottom layers and acrylic paint. And the acrylic paint that I'm using is the Nova Color Paint, which is a paint that is not available in stores, but it is available online. And I have a baton bundle with them. The Suzanne, our bundle that link along with everything else is on my supply list. But these are good-quality, hardest Grade acrylics, but you can use whatever acrylics you have. And then I also use gouache, either regular gouache or agro guage. Depends on what I'm doing in this class. I went for the acral and that just really means that it's an acrylic paint with gouache like consistency and look and all of the wonderful qualities that quash has. And if you're not familiar with gouache, it's a, if this not this version because this has got acrylic in it, but the regular wash is a water-based paint that is chalky and Matt and really considered an opaque watercolor. So when they started making, these are two brands that started making acro gouache. It was using adding acrylic gouache. So this is a whole Bain brand and this is a Turner brand. And this one's a little bit cheaper. This one that can be pretty pricey. But sometimes I'll grab a color of this. The point is that if you like the look, sometimes I'll use it on an upper layer. You don't even need that stuff for this project. You do not need a gouache or alcohol wash. I'm just showing it to you. Then sometimes I use oil pastels. I think I ended up just using the Kranz and in this class, the neo color to grams because we didn't need, we use one to draw and then maybe for a couple of little axons. So you certainly don't need this many colors. And again, you don't need these at all. You could do this whole project with just paint. I'm just showing you the fun things. Posca markers can be fun. I ended up using very little of them in this project, but I just wanted to show you these are ink markers and they use them in a lot of my classes, but in this one I was really trying to simplify it for you the idea of the the project. Now for brushes, I used for the first time the brush set that is going to be, these are the samples, the Suzanne Allard custom brush set that I've designed and so excited about, actually have a picture of him here. But I have the color, they're going to be n, which of course is my turquoise. And then I have the, you know, how much, if you've taken my classes, how I love gold. And so I made a, this is what they look like. I made the handle, the turquoise, and then with my logo and then the feral, which this part is called the feral is brushed gold. And then these are the, these are the same brushes. So anyway, you'll see me using these brushes. They're great for florals and acrylics. But again, you can go with any brush, brushes that you have. I will say about brushes though. Don't go for the cheapest because it'll just frustrate you. You can't get what you're, you know, you have this idea of what you want to be able to create and then you can't execute it. And it's very frustrating and I don't want you to give up out of frustration, so just give some good-quality brushes. And then paper. Let's talk about the paper. I'm going to get to where I'm using his acrylic paper. Let me grab it. It is a twelv by 12 pad. You don't need acrylic paper is just nice and heavy and I've really been enjoying it. So I wanted to show it to you. You can absolutely use watercolor paper. And then just so it just saw what the cell does is this is a good basic brand. Got a link to it on my website. But just a little seal the watercolor paper because watercolor paper is designed to absorb and draw in the paint. So if you start just putting your acrylic on watercolor paper, you'll notice that we're getting absorbed and you just won't it'll you'll use more pain. And it just doesn't it doesn't look it's triad and play with it. I'm not saying it's wrong or it's going to hurt anything. It's just that you'll feel like you just keep putting paint on it and it doesn't get that. Doesn't sit on the surface, the weight and it will when you just saw the paper. So you can use that. The acrylic paper is this really heavy paper. As I said, it's 240 pounds. I will say if you'd get watercolor, make sure it's at least 140 pounds. Heaviness, don't get the thin stuff. Then this particular paper, because it's so heavy and it's already got this finished, you don't need to adjust. So that's the appellate paper. And then there's a couple of different ways I show you to actually create the flowers on the piece of paper that we do. One is free hand. Then I'll show you how I do that with a CRAN and then the other is a tracing. If you're just could be that you don't want to do it free hand. You'd feel like you don't have the confidence yet, or maybe you're just not in the moon, you want to trace. They know that there's no right or wrong here. Sometimes I traced because it actually refreshes my mind about what flowers really look like and how their shapes are. So retracing, you can just grab some carbon paper. And then this is parchment paper. If you have it in the kitchen, this my kitchen parchment paper. You don't need to buy a tracing paper. So that's what gets know on a pencil, of course, those are supplies for that. And then I'll just show you what I use for palettes. I have two of my favorites lately or make my share. My iPad doesn't fall. One is pallet paper, which is just these thin sheets and they're really slippery on this side so that you can mix your pain and then you just throw it out. Here's one on the trash, I'll show you. You know, it's done and kinda turned out pretty late and they just throw it out. The other thing I like to do when I'm painting bigger, or maybe I just run out of room. You know, my palette is, I put the paint on the palette and it's fall and I want to keep mixing. I use this glass palette and I've actually got some paint on it. So I'll show you how I, alright, so this is, this is my hack for a glass palette. I've got a link to this one on my website, but rather than spending the money that a glass palette costs, I just bought a kitchen cutting board and I found one that was the right size and that was the nice, temperate edge and soft. So I wasn't going to cut myself. And then when it's time to remove the paint, I'll just do this now while we're talking, I just spray it with water and it doesn't take too long. Then you take a paper towel and a blade knife, which you can see he's really poor thing, probably need to clean that. But I'm just scrape off. Usually let it sit for another minute or two and it just comes right off because I just sprayed it. But you get the idea, then that will be all clean and ready to go. So I think I've covered everything and let's get started. 4. Let's Get Inspired 1: Hello there, Let's talk inspiration, one of my favorite topics. So inspiration for something like this comes from all over the place. When I'm out in nature walking or just looking, I might even be in the car and I will see the shape of a tree and the way the branches are and just note it or get my phone out and take a picture. But I'm constantly scanning and I don't feel like I mean, I don't feel like it's a distraction because it's just the way that I look at the world. My family knows this out with me that I may stop and decide to take lots of pictures of a particular way this mosses on a tree or something that I think is fascinating. I especially love the way light hits certain things. Sometimes I'll just take a picture of the light hitting part of a leaf and it's not hitting the other part. And I just think that it illuminates that live part. And so you can see that I could just walk around with my phone and take pictures all day. I do put them in albums on my phone. I'll show you how I organize them. So I'll use pictures that I take. I think I've got over 1,000 in my garden and leaves and flowers. How album? I've had to sub-divide it because then I have okay albums on my phone and then I have small bouquets for other things. But that's one way I organize them. Also, pinterest is a great resource for photos and there are other apps like Tumblr and Flickr, and there's nothing wrong at all with using photos for inspiration, especially for this class. We're not copying a composition. We're looking at photographs of flowers just to get us, just to get some inspiration for some variety. And the shape and the way that they're constructed. Loosely and ideas, that's all, and even for colors, so we're not, there's no danger of copying anything in something like this. The other thing I'll do is sometimes grab an actual, if you have a flower or something that you've purchased or in your yard like this little Monday via bloom, I just pulled off a pot in the backyard and just kidding yourself to pause and look like the fact that it has five petals is interesting. The fact that it is orange in sight. I mean, who knew kind of yellowy orange. And then I know there's things like see how these petals overlap one another. And these are very symmetrical, but most flowers aren't. But even in this one, this petal is not doing so well and it doesn't look perfect and we don't really want our flowers to look perfect. And then it has an interesting tubular shape. So something like that. And here I just have a sage plant and I literally just picked it. Poor guy, you need some water. But I love that. You can just look at the texture of a flower. And I might, I might do something like this and not even use that texture by just think it's beautiful and inspiring. And every time you look at nature, you learn something too. Like in this particular plant, the stems come off. The leaves stems coming directly off evenly here, right here, right? But many plants are not like that. One will be here, I want to be here. And so just noticing the difference is this one's pretty symmetrical. And noticing things like the leaves are smaller here at this end and they're bigger at this end. And that doesn't mean we have to do it that way because I can show you another plant where it's the opposite. But it just gives you ideas. These are all the ways that I think that gives you ideas and thinking about what to create and some variety. So I also use books. So how let me show you some of my favorite books and then let me show you the albums that I use on my phone and how I organize those. Okay. So we have, let's do the books first. So these are some of my favorite books. And if you've taken my classes, you've seen probably all three of these. This flower color guide has flowers by color and it has just so many, let's see how many pages. Because it's a fat little book. And what's nice is, let me get my glasses on. So it's almost 500 pages. It'll also tell you what they're all called. So it's just fun for learning, but it's organized them by color. And I don't necessarily use it that way because of course I make flowers any color I want to make. But it's great because they're all is photographed on a white background. It just allows you to really see the structure of a flower. And I'm just like look at this lovely way that these tulips stems go. And just to remember that Stems. Look at these. This is a French marigold. The thing. These go every which way and then sometimes I forget to paint. Seed pods are poor buds. And buds are so interesting. So even flipping through something like this can get you inspired, my goodness, look at those. This is the onion stem and I have definitely saw my squigglies and my abstracts or even on my florals are kind of a knockoff to this. This little book packs a lot of inspiration. Look at the Coxcomb, the way that we can do this. Then. So that's the flower color guide. And I will I think I have links. I'll make sure because I know I have a link to this one and my favorite books, my website, I have my website, I have a supplies, tablets, links to all the supplies I use pretty much. And then also books. And I know I have two of these, but I'll make sure that I've put the third one in. If I don't. Then the flower recipe book, which is designed to really help you put together bouquets, which who doesn't want to do that. But besides that, it's got some great photography. Just flipping through here. And the way it lays it out is it'll have sort of the ingredients on a page like this of a particular bot k. This is wonderful. I mean, you can literally just open to this page and pick these and I'm gonna do this and I'm gonna do a shape like this and put together a combination of this or something like this. Look at these masters and leaves and binds. So this is making me want to just paint. Remember, from my style we're not doing botanical illustration. So you want to approach this with a lot of artists will squint, okay, Don't laugh at me, but that makes wrinkles. I know, I know, I know. Too vain. But also squinting is just kinda makes my eyes tired. So I'll either just get some distance from a photo or I think I've just trained myself. What was let's say one other thing you can do is you can take a picture of the photo and you can go into your settings and blur the photo. Like if you're too worried that you're going to be, try to be very meticulous and detail and paint it just the way it is. And that's a struggle for you. Then I would go in and blur the photo and you can squint or hold it at a distance, but just keep telling your brain, we're not copying this exactly. We're just trying to get a sense of the shape, the form, and then let go of all that. Alright, my third book that I love is color me floral. And this is a book by my favorite floral designer, Kiana Underwood. So if you don't follow her on Instagram, get ready to fall over when you see what she does. This book is monochromatic. So what she did is she, I don't need that for this, but it's just the way her book is. She made flower arrangements that are all in one shade, in one kind of hue. So these are the whites and then these pinks and so forth. So I don't really use it that way. I just use it because I love the way she cascades her arrangements. There never just a ball like what I call a funeral arrangement. They're just look at these, the cascade there, the way that I paint my heart, I try to paint my bouquets. And so, but you can just see, so she'll shows some of the ingredients here and the smaller pictures, but we'll use this book is inspiration. I'll show you how you can just use pictures like this and pick out a balloon that you really love. So that's books. And next we'll look at how I organize my photos on my phone. 5. Let's Get Inspired 2: Okay, let me show you how I save my photos to my phone and create albums so that I can access them whenever I want inspiration. I'm going to show you my iPad since my phone is being used to film this and it's the same thing. Besides, the phone would be too small for you to see. So you have your photos app, which is this little flower. And that's where all your photos go. They just go into the library and you probably have thousands of Unlike I do. But then I create albums, all kinds of albums. And the biggest one would be my garden and flower inspirations I have in here within this different albums. So like I have a tropical and I've tried to be better about the housekeeping in here because I used to just, I mean, you can see this flowers and leaves. One is 1,146 photos and I'll take photos at nurseries at oh, my gosh. At somebody's house. I mean, walking somewhere. Parking lot suddenly doesn't really matter. If I see something interesting like the shape of this filler Mandarin leaf. I think that was at a nursery. This was this all these I took, I went to a spy and they had a flower arrangement. I don't care about people are thinking about me. Man, I wanted to hold the flower and certain way to get the petals of this in such a way. And so I took a bunch of photos of close-up of the structure of these photos. This is all the same arrangement at the spot. So you can see that this will be just a grocery store thing of roses because I wanted to see beautiful structure of these roses and the colors somebody's garden. This is more grocery store flowers that PNR, I love stock. I didn't hold still enough though you can tell because it's blurry. Blurry helps us not paint to to carefully. This was somebody whose wedding. No, I think that Oh, yeah, when I had my surgery and some friends sent me an arrangement. Then gardens, botanical garden visits. But weddings, yeah. I went to a wedding last summer and I snapped every boat k because they had different bouquets on every table. So I went when people are dancing, I didn't interrupt their dire. And I took pictures turning the bouquet and getting the light just right. This was at a restaurant. You can see the hand sanitizer in the sign there and I just sat there and you're at the bar and I moved it around different angles and took pictures of that. So yeah, if there's something botanically, these are from restaurants. I do that all the time. The little centerpiece hopes. Wow. That was from That's the botanical garden and Sarah, subtle look at that tree. Credible. So you get the idea. And then within this, I have made these different albums. So this is the big blooms album where I'm trying to capture the large close-up, gorgeous mess like this. If you just hold really still and you have a decent phone, you can take some great pictures. So I was kinda trying to make this oblong about, about pictures that were like one single flower, but it kinda grew from there. And then I have like flowers from my St. Bart's trip. And then from my mother's beautiful garden, which is incredibly inspiring. These are mostly garden pictures. But she has so much beauty and paths and so forth. So I was photographing there. So yeah, you just want to create an album and then you can create different albums. So I've got like small bouquets here and try, and try to organize these. But I'll just take like, here's an example. I just I don't even know where this was held. It was a does tell me it was at the Dallas Arboretum. I loved the way the leaves were hitting these flowers down on the ground and took a picture. And just whatever strikes your fancy, I was in Texas and I thought that was a cool looking cactus. This was I was passing this place and Naples and it had, I think it was a coffee shop and then it had some plants hanging outside. And I think if nothing else, it gets your eye trained to looking for interesting shapes and things and botanicals So, well we could spend all day on this, but I think you get the idea. This is how I capture inspiration. And then on Pinterest, they also have albums. So you can have your own albums, which I have been, you're welcome to follow me. It's Susanna or design like it is everywhere else. And I've pinned some big blooms there as well. And then I've panned. Let's see, I have plants in pots. I have flowers. These are more individual flowers. Then I'll have flower arrangements. But you can really go down a rabbit hole on Pinterest, I have color inspiration, all kinds of things in here. Some stunning arrangements. Let's see where am I sitting arrangements? I think I named one board stunning flower arrangements because they were just moreover, the top heavier than regular arrangements are stunning to me. So there was something that I felt was stunning to me. Oh, look at these. I mean, he's just I can't I can't take it. All right. So you got for inspiration, you've got photos you can take, put in albums, got books. You've got actual plants that you can bring in and look at. You've got Pinterest and other photo resources. And really what it is though mostly is your eye, your eye, when you start just getting it used to looking at textures, taking pictures of things, and seeing in a different way. That's when it really starts to get fun. 6. Painting the Background: So the first thing we're gonna do is we're going to paint the background of our piece together. Just a nice sort of pretty pink color and you can paint it any color you want. I would just stick with a lighter background for this. And let's get started on the background. At large from a two-by-two piece of acrylic paper here. And this is the Strathmore acrylic paper. 12 by 12. I just loved this size. You do not have to use acrylic paper. You could use watercolor paper. And just so it, since we're using acrylic paint, we want the paper seals. Now this acrylic paper is already sealed and what I love about it is the linen finish and also it's super thick. I think it's CO2 hundred and 46 pound. Most watercolor papers, 140 pounds. But again, I use watercolor all the time. I just wanted to show you this. So first thing we're gonna do is make a super pale pink and just paint the whole thing. A method to my madness. And I'm using my Nova color, paints, the bundle that I have with Nova Color. You can use any acrylic paint you want. But I'll tell you about these since people are always curious. Nova Color is a brand that you have to buy online and it's not in stores. So I have a bundle that I picked out of colors and you can go to know what color and to go under artists bundles, or I'll put a link to it in the supply list. So this is using those paints. So I'm taking the quinacridone red and just making a pink, but I want to warm the pink up just a tad. So I'm going to get some cadmium yellow to get too much, a little warmer. I turn to yellow. I kid, I always forget that cad yellow was really intense. Okay. This is just my little jar of gesso that I'm trying to use up. I have filled it up for travel. Quinacridone rose is really intense too. Okay. That's a worm. Here we go. That's what I was looking for. And I'm just using a brigade. So super excited about this. This is actually a sample because I'm having some branded paint brushes made with the Suzanne, our design logo on them and brushes that I selected. I'm gonna do two sets. One in the one for florals, I'm one for abstracts. Hello it again. Good thing. I don't mind if we have variation. And anyway, so that's why, that's what these brushes are. They they're gonna be my logo color, which is turquoise. But these were samples so I could try and work with them and testimony and so forth. You can see I'm not making this really uniform. Just grabbed a little bit of water. When using some water, I just don't want it super watery. You could use a bigger brush tool here when this, this is pretty basic, but depending on the people you have just loved playing with color. Sometimes if I'm feeling inspired or I just don't have any ideas happens. Or actually I'm never out of ideas. But sometimes I don't I don't know what I'm going to I just don't know what to execute. Does that make sense? So what if I'm feeling that way? I will just trying to get a tiny video. Just play with color. Put it. Different colors, make different colors. Too great exercise that I do with these paints will of any paint really is. See how many colors I can make that I like from just three colors. Particularly the, the colors that are what we call primaries. For modern primaries. Fact, I just did a YouTube video on that. The primaries we learned about in elementary school were red, blue, and yellow. And we were taught I was taught that that would make all the other colors seem like such a cool thing. Done it. But it really doesn't, doesn't say won't make a turquoise. So they came up with, I guess, I don't know who they are, but now the modern primary colors are cyan, magenta, and yellow. I like to take those three and just see how many colors I can come up with. I'm using gesso just because it's I have plenty of it or use more white than anything. I do have white paint and know what color set and if I'm if I'm doing something where I need kind of a more lightweight, you know, a more opaque white. Then I'll, I'll get that out. But for something like this, the Joseph's gray, it's giving us a good base anyway. And when we go to do our flowers, we're going to just look at some flower pictures. Literally. Just, it doesn't matter what pictures you use because we're not going to copy them. So you don't have to worry about having somebody's permission, which is mucking. I'm going to go ahead and take this. So I don't think so. I don't get paint on the shape below it. Okay. That was an interesting thing to have happened. Well, that's good. I can show you how to fix that. So don't tear that paper the way I just did. But we're just going to paint over that. And this will probably end up being a print. And I can take care of that. If it even shows by the time we're done in Photoshop, to many disasters that you can't come back from. I've used struggle with like the word style. If you experience pain or fear when you're painting. Where if that's comes up the inner critic and fear and just all that. I was at my last email newsletter. I think it was I wrote about that because as someone who's dealt with it, I spend doing research and I'm just, I'm just interested in because I am interested in the creative process and what can help us be creative in how I can encourage people. And whenever I ask, like in my student Facebook group about what holds people back, It's always fear. So I think I called it putting fear in its place. Just a different way to look at fear. You might want to check that out. You can subscribe to my newsletter on my website. But it's also on the blog and website. 7. Sketching Flowers Practice: Okay, let's do a little bit of practice keeping in mind that we're not going for really super realistic botanical representation on this. We are looking to capture the essence of what we're looking at. The shape, the feel. To me, flowers evoke emotion, joy for me, and soda leaves. And so I'm just looking to capture that joyful, light, luscious feel without getting hung up on botanical illustration, which by the way, I do love botanical illustration. It's just not, not what I do. So, alright, let's get to practicing. So for practice, let's use this book and then we'll use another buck for for the painting. I'm just going to grab one of these Neil color plans. You could grab a pencil, we're just practicing. But it might give you a feel. You could even use a paintbrush. So what I'm trying to do though, when I'm looking at something like this flower e.g. as, I'm just wanting to get a sense of how I'm going to zoom you in because I want you to see the little bit of the sense of how we're going into the flower more, but just the shape is what we're going for. So if I'm trying to capture the shape of this, I'm literally just kinda go on like this and something like this. And then these petals come out here. Looks like there's another big piece there. You can see that my drawing is not perfect, but when we paint it doesn't matter because we can adjust it. And then the stem comes out of here. I think this time would look better for what we're doing coming out of here. But you know, so you just make your decision. But the point is that it's certainly not just a circle. And then you do want to mark your center because that'll give you a sense of where this particular bloom is gonna go. So let's flip again and just see what else we might want to. Just notice how flowers are at different angles. So here's one, this is an M&E that is popping up. And the shape of it, if we just did, the shape is something like this. If I just literally forced my, my IDA to draw the outline, start there and then here's your center and then it has another center, right? And then you could add a few petals. And that gives you all you need to paint it. And then let's see what else would be fun. Look at those. I love this texture, but for this composition, this stem is just too fat and of course we can invent anything they want. So if we took this texture and we wanted to make the flower or something like this, which we would probably paint and then do afterwards. But just giving an idea, then you can make your stem any way you want it to be. Same with leaves. Don't feel like a leaf has to be the leaf that goes with that. I could do that style leaf here, I could do more this style, something like this. Then there's, of course buds don't remember those, don't remember him, Don't forget them. There. They're more round generally than flowers, but not always. Let's see leaves. So let's look at leaves because when we paint leaves and we're not doing a whole lot and this one, but just remember that leaves or not. You can do them any way you want. You can do them very uniform so that they end up looking like that. That's a very pretty stylized look. And I think I ended up doing that in this piece. Something like that is fine, but you can also play with it and get these variety of leaf shapes like that. And then it will make it a bit fatter. And then maybe this one you're only seeing the side of it looks really thin. And then in this little leaf stem, you see that at the top of it. So it comes up like this. And then one leaf comes down like that, and then another one goes over here. And then these two sweet little baby leaves come up here like this. So that's pretty to look at the dog one. We've lived mostly in Virginia and the dog lives in the spring are so beautiful. Makes me want to paint some dog lids. But they're very simple because they're just for, you know, kinda fat leaves. And the only thing that they really have that's different is that, and then they have this little tip at the end. Then remember, here are the artists. So if you want to change an inventor flower invent that. You don't even need to look at these pictures if you just want to play around with something, I'll look at that peony. Oh my goodness. I could do this forever. We could just do a whole class of looking at pretty flowers and tracing them. Here's a loop. Pine could do something like that. And you're just going to give a sense of it. You're, everyone's going to know what you're trying to convey here so you don't need to get into all of the details. You could even just make it very simple like this, getting larger and larger at the bottom. So have a little practice if you like, drawing them. And then then we'll get to painting them. 8. Sketching Pattern Freehand: In this video, we're going to draw the flowers like we practiced and draw them free hand and put them in a composition on our, on our background. In the next video, I'm showing you how you can trace the flowers. So you could try both and then pick the one that you like. If you feel confident drawing and give that a go, then do this. If you want to skip right to tracing, you can go to the next video. But I would encourage you, I think it's a great exercise to do both. In fact, you could mix those up in the same composition. You could trace a couple and then draw a couple. So I just wanted to give you a couple of options on getting that composition and the way that you like it. Alright, now that we have this all painted thread pretty quickly, I think it's pretty already. Let's get inspired by flowers. So as I said, we're not going to copy any necessarily. We're not going to use one single reference. So you can go to Pinterest and just put in flowers literally. If you want to avoid. Eventually might show you flower paintings. So you can just put photograph, flower photographs. And I'm just going to pick, I mean, who does not like puppies. Look at that. I'm going to have to save it to my bouquets. You should see how many you can follow me on. Let's see, I have so many different boards related to flowers. I'm going to call that one a stunning flower arrangement. But what we're gonna do is pick a flower toward liking. So you might want this or you might pick something else. And then we're going to take the, you could use, if you don't have these Neil color twos that are water-soluble, soluble. I would invest in a couple. But you could use anything you have that his light you could use a light pencil because we're going to paint over it. I just like these because they kinda add a dimension to the flower anyway, taller wise. So we're just going to be random here. So I'm just going to really loosely, I mean, really loosely. Pick up this. No, I don't want to go there. Poppy puppies are pretty round like that and just and just start drawing, pick up another one over here. Could even put this dome in if it helps you. And I'm just doing this one here that is coming down and just getting the shape. Don't even worry about anything but the shape. Buds look nice with pair. And the cool thing about poppies is this action where the stem is really irregular. I like that. So I'm gonna do a couple over here. And maybe one more flower. I'm going to try to vary the angle. So we'll do this one. And I'm just start with the center. It might help. But we're being so loose here that I don't really care. We're going to do the suggestion of flowers. We're not, we're not after literal shape, the pedals and all that. So then I'm gonna look and see what else I love about this is you just let your eye, you know, pick whether it's excited about what's interesting to, you know, these, these balls are always kinda cool. So what if we want to make sure you can see, let me make sure you can see the iPad and you can't. So let's just move some things. For now. Move the pallet paper over. That way. You can see I'll hold it up so you won't see the glare. Okay. So let's take some of these. I'm going to take some of these. What are the names of those pain before and I don't remember. Okay, let's see what else was. I mean, these are gorgeous, but it's a little more complicated than I wanted to draw something like this. What about here? We could do something like these. That's a video. So let's say those cherry blossoms. Let's see what this one has. Who I follow this kind Instagram. Oh my gosh, Tim. My graph. Let's see. Those aren't all hands, but let me show you. It's definitely worth following TJ McGrath design. Yeah, does beautiful. Look at that. So pretty. Okay. I can't go down the rabbit hole to fire, but it can actually that's prior to what we're doing here is the flower rabbit hole. But I'm thinking of we get these little it's not a Snapdragon. It's a stock. Okay. I love those. So let's come up here and just do when they're maybe this one has three parts to it. We can come up here and kind of see how I'm just lightly trying not to over how even all holding. It helps if you hold this The you're drawing tool like this instead of like this, like we did in school. Let's see what's here. I love David Austin roses. Okay, let's put one in. Maybe it can be like a focal point over here. So I'm just gonna do a circle. And then some sort of outdoor, outdoor outside petals. Try not to make them round. Then this is like dark in here. If you look at this, it's a David Austin rows right here. And there's just lines. This is all gonna get painted over, but then there's more here and there's kind of the wrinkly inside. So that's a good one there. Let's go back. Poppies. Here's a nice image because it's showing us a lot of, you know, the front-facing angle. And I love her and ankylosis. So I'm gonna do a couple of those so I can come here and just something like this. Again, it's gonna get painted over, but really they're oval. And then it just depends where you paint the center. Let's do a few more of those. Printed. Decide if I wanted to stem coming out or just a flower. I think I'll just do a couple of flowers and these will be more front-facing. The lines are just there to remind me when I'm painting that they're renown countless. They're always just think about this. The center not being in the center, not being in the center. Try to put it off because if you look at like this flower, you see how there's more distance from the center to here, then there's from there to there. So it just doesn't look natural if you always put that center in the middle. So I always have to remind myself it's just a habit that we want to put things symmetrical. Now, these little sort of, I don't know if they're daisies, but that's sort of idea. Let's do something. With that. You don't have anything. And again, let's not make the petals all the same. Maybe there's one coming off of here that's half there. And we could even do a stem of sum here. And maybe not everyone here that's half-open or facing sideways. We can turn this around to to get us staying playful. Else. You know what, we can just do. Something that this amine, what made me think of it? No, I don't want to go shopping and Amazon. Oh good Lord. Basically. Yeah. It's like I can hit it again, but it's. It's got a lot of little things. So you want to think in this, we will paint this. Who knows, who knows how much of this will end up in the final, but we're just getting started, starting point. And it's good to vary your sizes. So small elements, large elements. Remember, just thinking in terms of shape, size, variety. Stem may not stay. Okay, What other kind of genus? **** we get that. That's pretty there's some I don't know. I can't remember what it's called. Maybe I don't even know. But it almost looks for in life except that it's flowers. So we're just going to kind of get the petals get bigger as it goes down. It's trying to think of your mind somewhere else. I want another flower here that's just kinda random. Yeah, maybe it's time to put the iPad aside now I'm kinda just use imagination who basically was to get us excited and inspired. So now we can fill in wherever we like. We can do. Leaves. The stems, maybe grab some different shaped leaves. Make this flower a little bigger. Let's see here. I'm looking around, I'm looking at the empty spaces. I'm thinking about things. But this is enough of a starting point, really. Probably more than enough. Maybe a leaf here. We don't have any leaves, so we'll be adding those, you know, as we paint. You can do them off of a flower like that. But all of this is subject to change, right? I'm just bringing that out. So it's kinda, we have coverage and it's a little, not much happening here. So we could, we could just add some leaves like this on these, bring this term down. Okay, I think that's a really good sketch to start with. 9. Tracing Flower Shapes 1: All right, So I showed you how you can sketch these flowers out free hand. Now, let's show, let's look at tracing. It's a really fun option. Don't feel like it's cheating or somehow it's less artistic or anything like that because they can help remind you of just entrain year that muscle memory on shapes of flowers and parts of flowers and the way they face and, and there's nothing wrong with it. So well, I'll show you. We just basically use carbon paper and I used parchment paper. You can if you have tracing paper, great, but parchment paper, if you have that in the kitchen, works great. You might even be able to try wax paper, but you would have to draw on the not waxy side. But anyway, let's try some tracing. Right? I wanted to show you a tracing option in case the sort of free hand flower drawing just like it, or you maybe don't feel comfortable with it. I'm confident in it, although I encourage you to try. But this is a, this is actually a really good way to learn about flower shapes. So there's nothing wrong with doing this. And so what we're gonna do is pick probably not this page. I love that. Okay. Am I correct? Can you stay on that? Can you just give me a call? I can't stand this blooms or maybe a bit small, but this is a good one to trace. And so I'm going to do supplies wise is I have a piece of carbon paper like from Staples about this package a long time ago. And then I have some parchment paper. I know I have tracing paper. I cannot remember where it is. I can't find it. And I've used, I like parchment because it gives you a big square. But either one, the whole point is just something that you can see through. So this may see, then you can see the outline of this is really not round at all. And if you want a little more help and your flower shapes, you can come to this and even put the other center and you can take it a little further if you want. For some of the lines, I wouldn't know. I was gonna say I wouldn't go too far, but you may like a more precise looking thing, so it's really up to you. But we could also do this peony the way that the stem is here and then drops down like this. And then like that, you could show a couple of the petal shapes. We could even go, It's got some more petals here. So you know what, that's like his family, because stem is over here and say that's a puddle. But the stem is here. So it makes more sense. So let's see what else can we try looking for the just a variety. Look at bat. I honestly do not know what that is. Just incredible. Shape of it would be. You know, I'm not gonna be precise. I'm just illustrates what I've been saying that these these flowers or not round and then the center is here, some stuff like that and maybe a couple of pedal lines just so before. We want to simplify. So we don't want a whole lot. Even the way those are coming out of is kinda pretty. I need them a little bit more to the side. Well, actually we could do that one. Just ignore the one on top of it. So stemless there. And then it opens up like this. Yeah, and then the center is right here. So kinda goes out that way. We can extrapolate from that. This other one is like that. You know, basically there's two on that stem. Let's see. I've marked some other pages that rather large enough so you can use you can, you know, you, if you don't have this book, you can look at another Florida, go to a library and get a flower book. Just want them a little bit larger. Because if it's a teeny tiny picture, obviously that's not going to help you can also. Find all kinds of images on Pinterest and print them out and trace them. Let's see. Here's kinda wanted to give you an idea. This one does kinda have the center in the middle. It's also giving us a variety of types of flowers. Isn't boom, here's a good one. I love this fuchsia plant. Got us down, and then I don't need to draw all of this. I'm just going to pick. Part of what you wanna do when you're creating is simplify everything you see because it's too much. And then, and then nothing stands out. There's just little bits that come out. Yeah, that's probably all I need to give me the idea that these are all coming from there. I love the way that one is sideways. We'll just ignore that. And we'll make the stem longer. Maybe put them feel the power lines still get covered up. But again, mostly helps our brain get that muscle memory around what the shapes of flowers. Then they have this sheet can be a reference for other I like this. It's not a puppy litters called methyl. Look it up. She's got it in here. Maybe there's a type of quantity. The recipe is here, anemone. That's what it is. There it is. Look at that. Gorgeous. But here's one to this side. It's nice and large. Petal lines. Just so yummy. Now almost looks like the petals on the outside or her torn. I'm just going to put the suggestion of This is kinda that David Austin feeling inside there. So yeah, these are not precise. Gotta do that wonder we could just do an outline. Make sure that's a different flower back there. And look at that outline and see, and then the center is really somewhere in here. But I'm gonna just mimic these kinds of lines. And maybe a couple pedal lines. I need one more line just to show me that basically it's centered in here. Okay. Let's look for something that's maybe more meandering. Not know if this will be big enough. Maybe it's pretty small, but this is pulling via. Try to trace it. I'm going to ignore that one flower. I'm going to trace it a little bit larger, just kinda getting the idea. See what else I've got my chair. Oh, okay, Yeah, I thought we could try this. It's not a daisy cosmos. This one. Just so we have some variety. Just using a regular pencil. Okay? So we know this paper is making lot of noise. One way to get a shape of a flower, a flower variety with without having a wing. So now let's do some tracing. 10. Tracing Flower Shapes 2: I just grabbed something I've already got a background on because I wanted it to be similar to show you what this was. Painting that didn't like. I just said it over and scratched over it and now it has some yummy texture to it. Song the same kind of way. I'm just going to playfully put these around you starting with this guy. I do think it's easier to trace with something colored so you can see where you been. I've got these Jelly Roll pens, but sometimes they don't want to work. Let's see if this one's going to want to work. Not really, especially on parchment sometimes. So sometimes I end up using a colored pencil. Let's do that. All right, so that wants to pass them. It was like it was resisting too much. So I'm going to just trace the outline of this and hold it down and then we'll check and see if it's transferring. Okay. Again, since the whole thing is not precise, I do not need to precisely trace my outline. There it is. Maybe I don't need to write so hard. Just got some lines in here. You don't need to be exact couple of petals. We could. If you say, Oh, I like this flower, but it's too big, then you can just make it smaller. One right next to it. You could just trace everything a little bit smaller. I guess this is yeah, this is tracing. I was gonna say maybe those parts called this is transferring, I guess. The main thing you want is the shape in the center. Let's throw this one in here. You know, this helps you, like I said, with the muscle memory, you learned flower shapes. I could put a couple of these daisies and I don't need to stick with the sheet, right? I mean, if I wanted to just go create a daisy for Cosmos over here, I want to create another one here. My hand just did it. So I just need to remember to be not too fussy. Not make the petals all the same. Don't worry about like, you know, that's overlapping there. You can erase or you can paint over a big deal. Then you could take one of these meandering ones where I want it close enough, I think you get the idea. I'm not gonna do the whole sheet because we're going to paint the other one. But I just wanted you to see how that works. Now, the thing is that you wanna do before you start painting, because this is graphite, so you can see on my, my hands. So it will make your colors gray, which we don't want gray flowers. So you want to set this somehow. You want to set it with paint. Or if you have ink markers, like a Posca marker, you can set it look that you are going to get a little graphite on your, on your person needs to be a color that can show up. Obviously, what's the point? Great. Otherwise, what's the point? So we can do like a color that won't matter if it's under. In fact, it's kinda cool when it peaks through. So you can take like this coral posca, which is a paint marker. I have a link to these also. I guess I have a link to everything on my website. Just about can we can do that. Which becomes part of basically our first painting. In a way, all I'm trying to do is cover up most of that pencil mark. If you don't have a Posca, you can just take a bit of paint. Again, we can make it a pink color. But anything was ink or acrylic will set the seal that graphite. So let's see, naps all crimson that always makes it really nice pink. And in fact, this look is a little bit more painterly, so don't feel like you have to run out and get a Posca marker. A little bit darker, you won't be able to see it. I'm just painting over the small brush. You can use the liner for those two. And making my and then when that dries that graph, cannot, you know, it's not going to disturb and mixing dear paints. You can see it kinda mixing in with this paint, but then it'll be seal. You could use white where adjust. So but then you'd have this lake white bit of underpinning. I'd rather use it in a color that I think of it, if any of it's poking through, would be just fine. So you can see this is just as fast as using the posca. So here we can say, okay, that's some didn't work there and let's, let's put it here. You can erase that out, rub it out, or just probably in the painting over it with a leaf. How they think about it, it's probably better to just not trace in the stems because those are really easy to add. And then you can decide what direction they should go in After Effects, after you, you know, at this stage. Now, if you were to paint over the dry graphite, no worries. The dry paint that's over the graphite. This, if you'd like doing it this way, then, then you can use those flowers is the ones that we traced as reference if you want to look at back at them when you're painting them. So that I just wanted to show you that there's an option for getting your flowers down. So why did you choose which way you want to go and get your flowers down? We'll start painting them. 11. Underpainting Darks: Okay, so what we're gonna do with the nav, we've got the flowers on our background, the sketched out. We're going to come in with a little bit of an underpainting to get some instant depth into the flowers. We're gonna be covering it up mostly. But it will, there'll be, It's just, it's a layering process and it allows the flowers to have some depths before we even really start painting up. And it's really quick and easy. In this stage, we're gonna do a bit of an underpainting some of these florals just to give a little bit of depth. So I'm going to mix up a I know how to describe it. It's a tone down. Sort of brown maybe. But let's just make it and then having trouble describing it. And it doesn't have to be like brown, brown like so I'm taking a little bit of you. If you've got some reds out, some agendas, and then we're gonna put a little bit of yellow. I would say a warmer yellow. I'm using the Indian yellow or cad yellow deep. And then I'm going to use a bit of blue, probably a warm blue, cerulean blue versus ultramarine. And then I mean, he's mostly white and just keep playing until I get I'm just looking for a dark neutral. A darker neutral that is on the warm side. So I'm going to keep mixing until I get something like that. Warmed it up too much. Indian yellow is so intense. Okay. Something like that. So I don't know what do you call that? I guess it is a brown, but I want it to lean towards red or magenta and they don't all have to be the same, but I'm just going to I don't want it quite that dark. Just going to wash in the centers. I don't actually don't want to cover that center because once you lose the center, he can mark it like that. It's kinda hard to build the structure of the flower. And I'm just going to dab that. And because darks are through the center and then out. Same thing here. So I'm holding the brush really lightly. And maybe I'll hit a little bit out here because, you know, flowers are going to have some dark areas and some lighter areas where their creasing the petals and so forth, light's catching them. I do hit the center is more than I can dance around. Can you see I'm not worrying about covering it completely. You can kinda see the canvas texture, the linen texture showing through. You can vary it to like if you want to grab a little more magenta and take some of them different direction, just trying to get the value darker at the bottom of some of these shapes. Even some of these little guys, some of them can be darker side. We're going to be painting over this. So this is just like a bit of underpinning for some depths. Here and there. Some of it may not even show. See here a little bit here in this dark. Just kinda dabbing some and even some of the leaves. I'm going around the Centers. And there's no magic color to what you put in this kind of an under wash, except that the value should be a little darker. Some people use complimentary colors. So let's say if your, if your flower is going to be red, then you do a green under wash. Or true leaves are green, then you do a red, orange, red ones. You can experiment. It's something to experiment with. Forgotten what that is, I guess it's another one of those user. More yellow. Okay. That's good. Just a little something. And we'll let that dry. And then we'll start adding some color. 12. Adding Color to Flowers 1: Okay, let's start adding some my favorite things, some color to the flowers, and start beginning our layers of doing colors. And then the next video leaves and details, and this is where it all starts to build and get juicy. Okay, that's almost dry, but I just wanted to talk a little bit about kind of how I get some of this inspiration and images in my mind. And then maybe have a picture like this. Even though I'm not trying to create precise looking flowers like this, I am. I feel like if I stare at this and just make some mental notes about look how that's opening and how it's not a circle. If we just trace the outline of this flower, it goes like this. Then it goes out here and n, and then out again. And then it's really tempting. It's something about us when we start making flowers, we want to make them round. And so looking at real flowers like this are actual real flowers. If you've got a flower market near you or even in the grocery store, just stop when you're going in and looking. Although I will say some of those grocery store flowers are so artificially colored in shape that they may all look around. Maybe look more in a garden. But then noticing that the centers, if we, if we trace this, see how the center of this is much closer to this side than this side. And look at this one. Here's the center. And it's much closer to this side and this side. And then look at if you trace the shape of this one, it goes this way. So thinking about shape and center. Now, this one is facing us, but look at its edges that goes out like this and then I'm a big piece out like that. Let's see what else here. Let me just move this while it's drying, trying to not get the book in the paint and everything else in my studio have paint on it. So I don't know why the books should be any different, right? But let's look at some power, some more flower shapes to just get in our mind that by the way, if this pipe probably use this in every floral class, this is colorway floral by Kiana Underwood. Who is, I would say my favorite floral designer. Her work is so creative. And I have a link to this book under supplies on my website. But it's none of her stuff is traditional. Round arrangements. So whenever I paint larger floral bouquets, this is, I think about her work and her shapes and how they just meandering and creative and not symmetrical. So that's more of a bouquets. But for this class we're looking at just individual flower composition and how flowers look in the sense that we're not going again, we're not creating, trying to create them exactly, but we want to pay attention to enough. So we don't just end up with a bunch of round circles. So let's see, let me find a good picture. Look at this. Her work is just amazing. It also gives us ideas for different types of flowers and different types of centers. Like if you look at a poppy, like the puppy has a much larger center and it's dark. In general. We can suggest things about flowers without painting every petal or literals part of a flower. And again, when you look at, if you imagine this piece of paper is this painting that we're doing is somebody took these flowers and just kinda tossed them on our paper. Then some of them are gonna be sideways like this. And we drew some of them that way. Some are going to be, even if we didn't draw them that way. Remember our drawing is just a guide. We can change it and I'll do that often. Then some are little. And then some are sort of have the daisy petal field too long and some are more round like a rose. In this book, she's doing monochromatic arrangements, meaning of hall of a similar color in one arrangement, which has a challenge because you tried to look at this. You're trying to like, this is her peach. I don't want to make sure you can really see that. I'll include a couple of these pictures in the class downloads. These are dahlias Mosley. But even dahlias which are pretty round, have some variety and there's some ridiculous renin keyless. And you can see that sometimes they're cascading down. And ran Oculus also have a wavy stem. It'll have a stem that doesn't just go straight. And that's the other thing to just be mindful of. Never make a straight stem. And leaves to look at. We're gonna be really playful and loose with our leaves because they go every which way. It's really just green pops of green that we're looking for. And you can always do, don't forget buds. Like, I love poppy. I think those are Papi, yeah, those are poppy beds. Beautiful. So there are another flower that the stem can meander and go kinda have a mind of its own. So the spread is a really good one for thinking about the meandering bits. Like look at this coming down here. And so I'm gonna kinda keep this in front of me. And I will include at least these two pictures so that you can. But there's so much chloro inspiration out there. First of all, you can go to Kiana Instagram, which is amazing or just put in floral arrangements. But I would put in, I find it works better if I do a search on creative floral arrangements or floral designer, or create a floral design because otherwise you get dozens of images of what I call funeral arrangements, which are just a dome and all the flowers stuck in. That's how I feel about those. Okay, let me set this up here for inspiration. And let's see. I'm going to put it over here. We will start playing with some of these. Again. The downside of looking at pictures as you can start to get really fussy and try to be painting petals and all that. So we're not going to really, really try not to do that. I'm going to move this light so that it holds this book. There we go. Okay. I get a little bit of that. So as far as color, I kinda make them up as I go, but I'm going to be primarily doing pinks, maybe some yellows, reds, oranges, peaches, kind of flowery colors. But we kinda see what the composition needs. And then I usually put in the contrast in colors on either the background or the leaves. So I've got some white here and I am using the Nova paints, but you can use any acrylics that you have or the acrylic wash or even gouache. Just if you're using regular gouache, will actually, you could do this with watercolor to this same thing works. You would just not just lay your paper and use watercolor paper. But anyway, I think I was saying that you can use a variety of paints, but grab your flowery colors or don't, if you don't want to make flower colors, don't got some cadmium red light here. And I've got some white. I'm going to grab some red. I'm gonna be good and not stick my brush in there like I have been. And I also love this fluorescent magenta pops of color. Fluorescent pink is good too, or it's usually called the gouache family or the watercolor painting is called opera pink or opera read, I don't know why I'd have to look that up. Let's go a little bit of that out. It really helps to live and up colors. You only need a little bit though. See whatever do I have? Okay, let's get them absolute crimson out. Just get your reds and you're pink and yellow out is what I would say. Even though we're going to be using mostly white really, well, mix it up and get a nice warm yellow. I don't know that we'll need a cool yellow. Let's stay with the warm and see. The cool yellow would be if you wanted to do, actually, this picture is a good example. If you wanted to do a lemony flower like this, that you would use a cool yellow to get the formula. You would use this. Alright. Got some white, got some various reds. And now I'm taking, you could use a flat or round, flat, meaning bright, bright shape like this. I'll probably mix it up. Changing brushes can sometimes help you change how things look. So it's kinda fun to change them. This is a six, but you could use for probably a little bigger 78. And I'm going to start with going around and I'll put one color down and then look for another color where it can go. In a way I want it balanced, but in a way I also don't want it super balanced. So like if I put a color here and here and here, I might put it once over here, but I don't want to put up here, here and here. Does that make sense? Because I want the I don't want it looking too much like a pattern. I want it to be not too synergistic. So let me start with some, let's just make a dark. The quinacridone red with magenta. Let's see, mix up a little bit some cad red and just get a darkish by the way, if I want a dark and I should have gotten a little blue because that's gonna be my darkening agent. I just grabbed this cerulean blue, but you could grab any blue. You're only going to use a tiny bit. And it's going to make it a purply color. And if I don't want it as purpley, I just add it had yellow. Just a tad. It will warm it up a little bit, kind of a plum. So I'm just going to come in again, try to be really loose. 13. Adding Color to Flowers 2: See here, I do think in threes and fives. So it's just a habit to not get too much symmetry. I'm going to bring this around here, so this color may not even show much. So now I'm just going to start playing, lightening up, making colors that excite me basically. So this is at run ankylosis. I'm just hitting it. Remember how those had this kind of seed? We have one here. Here's one hiding. But let me find you. One of my favorite flowers, so I paint them a lot. Here's a good one. See how they have this. Dozens and dozens of those layers will obviously we can't get that. And if I'm painting it from the side like this one, I'm just going to hit some, some of that and then fill in the stem. And let's see where else can we put the color? And I do vary, so I just grabbed a little bit of yellow. I'm going to use some white. I don't like to put the same color in too many places. I'm just kinda coming out of this. This was our David Austin Rose. And I'm really kind of grouping up the brush. A lot of times we tend to not have enough paint. So let me show you what I mean. So it's it's pretty fall. It could be more careful. But it's It's not like I'm being sparse with the paint. I want to be able to lay it on one or two brushstrokes. I don't want to fuss. And so I need to make sure there's enough paint on there to do what I'm looking to do. Just touching it on. And if it's too watery and then i then I'm going to feel like I have to go back and festival that some more. So as I'm going, I'm just adding different colors. I think I wanna make those yellow. It's okay, I'll come back to it. A beauty about pain is you can always paint over it. And I really am trying just to hit it. Can be done. And doing some darker. Then every now and then, just take the brush and make it longer stroke like that. Don't, you know. Don't don't try to pay attention to your strokes not being all the same. Let's see. More light. In a bit of a yellow. Come over here and do this guy. He's Shi, I guess if it's a flower, it's probably a girl. These, I wanted to start getting to go like a nice yellow will come back. But you can see how I already have, I still have some of that magenta on my brush, which I like. I have not washed my brush yet. Make those a little brighter yellow. You see how the dark is showing through underneath. That way, we have just a little bit of dimension. Let's grab some white and some yellow and make a weight. Something for these daisy things. Getting more, my brush wasn't good enough. So I'm getting it more goopy. And I'm thinking about not making all of those petals the same or the same links because we know are, we already looked at how flowers are and that they don't face all different directions. So it's, it's an interesting combination. We're being loose, right? But we're also trying to make sure that they represent that are looseness represents. At least the field of flowers. Okay. I think I'm gonna go and the more red, red direction or peach, which is going to blend in with their background. That's okay. That was my cad red light, which I need more of. Holding the brush loosely. I like the way that looks. Let's come over here and hits this one. I'm gonna do one of those where I make myself do one stroke right here. And I'm going to highlight, you'll see me grab some white. And I'm just because there's gonna be a highlight somewhere on every flower. So I do something light on one side and if I don't do it in this pass, I can do it in the next pass. No big deal. Making sure, trying to make sure this guy is not super round and I have to catch myself even though I'm not going in and saying, okay, well, this guy is two around. Let's stick a pedal out there. This one is still growing, but we'll go like that and get something. Not maybe highlight here. Not round. I haven't started on this one. Let's play over here. This is the nabs. All crimson is to have red that has more pink in it. Well, I guess the name gives it away crimson. So when you add white to it, it gets like this. You can get a nice pink. I'm gonna throw in just a bit of a fluorescent here. Just to brighten this pedal, have maybe the light's hitting it and see. The light's hitting the top of this one to get that fluorescent on here. So it could be hitting here. Taking that fluorescence since I made it and looking for places where it might show a bit of a highlight. Right? Now I'm looking at this one and deciding. And by the way, this kinda thing you could turn around if it helps. Deciding what direction. I think maybe going and orange would be nice. So I am going to wash out because I got that pinky purply color. I'm going to grab some of my yellow and my cadmium red light, which makes a nice orange. I've seen these were the David Austin roses are one color in the center and another color on the outside. So pretty lighten that up for those side. One thing I this is just personal preference, but I don't like that. I was just fixing is sometimes I work so fast that the color isn't mixed. So get like a bit of the pure white on the painting. And I don't know, I just I want the color to be mixed Even though I'm going fast. I like the way that turned out. Let's take some of this really light yellow and just hit some of these guys. Maybe mix up some of the pH in their various shades of the same stuff we were using. A lot of this is just you discover a color that you say, Oh, I like that. Okay, let's put some of that. At least that's how I love. I love to discover the colors as I go. You saw my only plan was related to use the colors that we talked about starting with. And now I'm thinking, let's see here too. I want these to be really wake up that can readily looked. So let's go over here, even though I have some here. And I'm going to bring more here. Little bit brighter. Let's see what this looks like if we use the cad red and it's a whole bunch of weight, do we get a nice look a lot like the background, but it's really pretty so that's okay. We will do something about that. Link. I just painted a leaf pink, No worries. Even more white. Just hitting it with some white. White mixed with the cad red. I'm going to say both of those are. Now I will say that one's a leaf and this one is a flower. Not that there's any right or wrong way to do that. You've got some softness here. A little bit of softness here in terms of color. There's a little flower there. Okay, and that would be a good one to do for the grader cad red because everything is soft over here. A little flower there to mix a little quinacridone with that. I don't like anything straight out of the jar. Is just too boring. So you're always going to see me mixing something that got too big. We can fix it for a week. Maybe we want me to this his leaf, leaf, leaf, leaf. I go back and forth. So I mean, if I miss a leaf now, do it or a flower, I'll come back. But I think that's a good first step in getting some flowers and we'll let it dry. 14. Adding Color to Leaves 1: Alright, that's dry, and let's switch it up with a different brush just to get a little bit different sentence, something going on. I think maybe I was going to say a six, but I'm going to use the for bright. And I also want to use some liner for stems. I don't like fat stems. I think they just make the work look clunky. So I'm gonna go in and do leaves and stems before i, and then see what I think of flowers and decide if I want to make any changes. So for my leaves, I'm going to make some greens. I need my blues and my yellows. I've already got some yellow. Let's get some of this. Will do this cerulean, but also the halter marines, a warm and a cool blue. Hi. Now some people say that the ultramarine is warmed, but I don't, I don't see it. It's cool to me. And then let's do, let's do some this Indian yellow. And we've got the already go for regular yellow with cadmium. I'm going to get the hansa yellow out and I'll show you why one of my favorite greens, really great, vibrant green. It's pretty much in all of my work. And you need a bot that to make it. I also have in my Nova color, the yellow, green, which basically I just pad. It's the only green in the in the bundle. But you can get the other reason I added it is because you can just get to that lime green faster, but you don't need it. You can make it lime green with a lemony yellow, usually called Hansa or light. Then, hey, my palettes running out of room and I have to give a clean sheet. So to make the lemon yellow, you will, you will use a lemony yellow and then try various greens. That's just depends. It may be blue that maybe you could try it with a worm. But if it's like so really and it will start going toward turquoise. So try a, maybe an ultra marine or a cooler blue. Let me move the sheet so that I can have room to mix. Let's see here. We'll see the colors though. Make sure you can see those. Barely. That's good. Alright. So same thing with the leaves. I'm just going to start putting some of those color. One. Please. Probably starting with a darker shade and then going from there and changing it. And without getting over fussy, I do like olivine grains. So they do tend to go in the holiday shade. I'm just throwing in some white. So what I just got was a little bit of a limp, the Indian yellow, the lime green. And I'm getting a nice warm and I just added some white fat, fats. The co-edit just makes me happy. Again, try not to over brushstroke it. A bit more weight. I love greens. I just think there's so many beautiful greens. Something dark in their skin, a little bit about ultramarine blue. To get a bit of dark shade, I'll try and blues and amazing color can morph. So many other colors, I'm going to put these greens are all getting a little too similar. So I'm going to grab a little bit of the cadmium red. Knock that back a little because I just don't want them to be all somewhere. Whoops. That was the one that I said I was going to make a flower. It's funny. I guess it wants to be a leaf. And I'm gonna come down here and make these leaves. I'm going to grab some of my blue-green, which is like a turquoise. Let's see. I still have the green in my brush, so it's still want to make it more turquoise, but not noxious turquoise. So I'm adding a little more white in there. And I'm just going to come down, make these relief and that's a little noxious either bowler. But it felt that way to me. I want it to scream. Look at me, is when I say, hi, nice to look at I'm different. Yes, my colors talked to me. Whose are a little too straight to? I'm using the break with the side. I'm just going to fatten up some side of them so they don't look too straight and lighten up along the edge of them. That color will need to be somewhere else. It could be a flower too. Why not? So good? Sometimes flowers that are just starting there. Kind of greenish. We can add pink to that. And that's getting to minty. There's that beautiful lime. So when I, you know, make a color that I like, It's spread it around. I still want to knock back this turquoise, so I grabbed a little bit of magenta. It's still reading too strong from where I'm sitting. Okay, they've toned it down a little bit. Let's switch to the liner. So this is a number two liner. I like this one. This is part of my brush set that is not going to be out for a couple of months, but you can get you probably have or if you have a small number two. But I just liked the way that this moves. So for my stems, I'm just grabbing a combination stems. If you really look at nature are all kinds of colors. They're not, they're not just brown or dark green there. They can be reddish. And I'm just going to start with something that I mixed up. This is I grabbed some red and stuck it in the green that I already had made. I do think it's a nice way to add a dark to a composition. Flips that much. That was the civilian blue. That's no Bueno. Not for darkening, it just gets really turquoise really fast. So it's a nice way to add line. And in fact, let's get some Payne's gray and really make like a navy. Now I love navy. So Payne's gray is almost a Navy. It's a dark bluish black. Then I add a little ultramarine blue to it. And maybe a white. Know how much. And keep working until I get this sort of nice. Let's see how that looks. I just broke my own rule there. Do you see how straight that stem is? So I won't break it here. Bring this around here. To make a line of work. It does have to either have a lot of paint in it for it has to have water just to get it to flow rate. And then he probably I wanted her glasses. I'm like I didn't. So this you can see it when fat On Me too fast. Maybe we'll fix that with. If it bothers me, it was painting in the background. I'm gonna go back to that brownish color now. Just go back and forth. 15. Adding Color to Leaves 2: Your nose. I would change the stem color all the time so it doesn't. I'm not looking even within the same flower. It can be a different stem because the light might be hitting it differently. This time could be lighter too. I just like them and things like this because they give that a little bit of contrast. Let's see what's kinda magenta stem here. So just took that same green and adding some magenta in it. Change the color. The same color over here. Your stems don't have to go all the way, see how they're broken, which looks more natural and organic. And often la, have the darks out. How to make sort of either the blue like that and hit those centers where it might be a purply shade. Just kinda hit in there. Let me get a little more magenta, make that a little more purpley. Just kinda reminding myself of aware of those centers are giving them a little bit of pop. I often use the Navy is center. I did again, I grabbed this cerulean blue. Let's get back Payne's gray back out. I love civilian blue is just that. It's not going to make that cool dark that I like. I'm trying to not make like a perfect circle. Because you'll, you'll see if you look at flowers, they don't have that either. Just dabbing. Okay. We're going to let those dry. And I'm looking around, you know, and I'm thinking you can do some more smaller leaves that we didn't draw in. Because remember, we're in charge. Nobody knows what we drew, nobody really cares. We drew. So I can take my liner and I can add more weight and make me go really nice soft leaf. For something like this. I'm Dan to try not to be too precise about your leaves and keep mixing and darkening and lightening. Vary the size, the direction. Because some leaves are gonna be laying flat, some are gonna be not. I want to outline something funny. I'm just determined to cover that turquoise RNA and sea routes. These were really leaves. Here. I mean, that could be either one, leaves or flowers. It could be a colorful feel like I have enough pink and I want more green. So let's make a high need more white, make kind of a light. Let's try to make another light, turquoise. That's not too much. That's pretty see how that looks. Soften it a little bit with a little bit of yellow or the green that I had made. And you know, it's funny on the palette. It looks very mild. But when you put it against the pink, on this pink, it starts looking much more vibrant. And that's because they're complimentary colors, so they excite each other. And I'm not really worrying at this point about the crown that's showing up underneath. Sometimes it just leaves a cool effect that I like. So I don't worry about it at all. I want to make some, let's see, a larger leaf in that color. All right, so you get a larger brush. This is a six filbert who would have covered if Albert, you're all wet so I can't tell. So Britain is, this is the end that's rounded. Which can't tell because as things all wet. But I'll show you in a bit. So let's see, let's grab a little bit of a civilian blue and warm yellow and see a little bit of that turquoise and see if we can make a color that's nice. Let's see how that looks. Like. Something like this. I'm looking for my cad red to tone that down. Okay, there it is. Just a bit more magenta. I mean, either one would kinda tone it down. It's still too bright. It's that pink under painting. That's okay. We'll let it dry and play with it. Okay. What else do I want to do? Maybe some leaves up here. They just grabbed some of that Indian yellow and some weight. Bmi, isn't it? This way my head going on here. Here's some stems. I feel like this guy needs a little bit darker leaf coming out of it. I'm just dabbing in green where I feel like I need it this point and I don't even need it attached to his **** Really I crave good. Deviate from that. I could just put a leaf somewhere. Kinda just turning it around, going. Now one thing I'm feeling like is there's not enough darkness and the leaves. So I'm going to grab some of the ultramarine blue with all these green mixtures and just good old, some dark going. Just hearing their needs, some contrast. Stop ended up paying later. Yeah. Okay. Let those leaves dry. 16. Refining Elements: All right, let's look at the flowers and see if we want to do anything else. One thing I thought of is that there is just a little bit of lighter, this Indian yellow mixed with a little bit of pink, just to give some interests there. And this, this one, I know it was fading into the background. I want to make it all the same. This, what's making this color pop is the bit of fluorescent in it. You kinda live in is anything up. So just take that up like that. Maybe hit some of these. We need to darken that a bit late in some new and more and more weight. Some of those we may make pop more with actually enter will make them pop. Let's add more of the fluorescent. Here we go. You don't need much fluorescent deployed. Is it pack a punch? These guys over here need a little bit of that punch. Just maybe on one side. I'm looking around. I think it's just a few places that I want to maybe make a flower a little larger. Maybe give it a little bit more definition. I love to. Let's see here it's the this. There are some magenta mixed with the cad red light. Makes a nice, lively coral. Girls can be exciting or they can be dull. And, you know, just depends on what you're going for because it's in the background, you probably want it to be good. But that's what I'm using here. A little bit more. Magenta, Let's see here. Now, I don't have as much paint on my brush because I'm being a little more deliberate. See this virus kinda strange. Let's see if we can help you. Usually if a flower is looking strange to me, it's that I don't have maybe enough dark in the center. And so as lacking some depths. And then we don't have a variety, enough variety of contrast within the flower, like not enough light. Petals. Petals because I'm not painting problems but parts. Yeah, Let's talk in terms of parts. For its looking to round like this one. That's okay, but it's just to monochromatic. All the petals are too much the same. Let's just throw a little fluorescent in there. Change it up. Okay, this guy, this guy, we're going to need some need some help. It's a little all over the map. You remember I was gone for that David Austin Rose. Look, and they're all wrinkled inside. So I'm gonna go in with some darks and some lights. Make some of those wrinkles. I need to get lighter. Piano done, flowers, maybe one of them where I keep messing with it and I don't get what I'm going for. So I just changed the flower completely to a different kind of flower. Right now, I'm dealing in wet paint, but let's see if I can kinda what I'm going for here. A little better. Just adding some yellow around it. I need to let you I'm talking to this flower. He needs to rest a bit because they haven't got too much wet paint. Let's see. What else do I want to do? Maybe nothing else with paint. I mean, when I come in here with some pastels, pastels had amazing texture. Really quickly. Just tabbing some bit of dimension. That was some of the fluorescent pink with some yellow. Maybe good here actually more weight. Here's an example where it didn't mix the way, all the way. Now I'm really making it up. My goodness, Let's just see what ends up happening. That's better actually. I'm going to put a little bit of that somewhere else. So it's not just there. He's Superman. Leaves are distracting me. So I'm just going to come along with some of that same color and just do a bit of a line in the middle. Right, standing back. I think that's good. We'll let it dry and see if we want to use anything else to add texture. 17. Adding Details: One more thing I wanted to do with the paint before I cleaned it up. And that is take some of this Indian yellow that's here and just do a little bit of that. And then looking for another couple of very, just some hints of it here. And there are two things I wanna do actually, that's one of them. I could do it with a pastel. I don't have to do it. Obviously with paint, but just some little small details. I'm using R for round here. I want to just have a few pops. Let me just add a little weight to it and we're elsewhere else, maybe some little bits over on these guys. Some of them the ones that weren't showing up as much. Yeah. Okay. Now, that always happens. You stop. And that's why I recommend stopping anytime you feel stuck. Because you get an idea and give it some distance. So let me take, but let's get the oil pastels. See, this is my favorite set from Mongo. I have a link to it on my website under supplies. It's just the best pastels for the money that I've found. I bought a few that are much more expensive ones, the Sennelier and just not I mean, they're good, but they're no better in my opinion than these. These have really lasted two and you can tell my favorite colors. I'm just play with some of these. I'm just hitting maybe a flower here and there. I feel like they add something a little bit of Pinterest. Maybe there's a spot that they didn't care for and I can cover it up. Or an edge that needs to be stronger. This is a peach color, is pretty much going to blend in with the background. Let's see. This might be a little bit lighter. Help us define that guy. Still got some of that paint there, but you brought it out a little bit. Got some pink here that might be nice over here. Doesn't show, Let's do a darker one. The thing about pastels, you always want to do them last because you don't, you don't want to put paint on top of them. Now I'm just using them to define some of these vernacular pedals. Really loosely. Maybe dark center. Let's see me, That's good. Let's do a pastels. Next thing we can do. Well, I got some options. We can do some pen, we could do some pencil, we can do some gold. I'm going get my gold pans out, season my favorite pens. You could do some darker. Let's just, let's see, see what we feel like doing. Grab some of these colors that tend to be My though to the pounds and this is gonna be the color of the background, so we probably won't use that. Let's get the whole box. One of my favorite things to do is hit things with it. Just a bit of Turkey. The past, a great way to do that. Here's my favorite goal Barker. My favorite. I use the offline. Play with that. Maybe. Here's the Navy just in case that started when do you think we could also do something with the CRAN? We've got these crayons, much like the pastel at this stage. You can put in a bit of color somewhere. In fact, they're good for it. Let's just do, Let's grab the turquoise. Turquoise is broken and do a bit of turquoise on the leaves with the CRAN. Just so I can show you. Just to add a little highlight. And I do love a little bit of turquoise and my flowers. It does something to them. Usually I do it around the center, but it can be along a pedal. I try not to be too precise about it because I think about it the way light my head and I don't want it to be too fussy. Yeah, that's good. Let's see. One of the things I was thinking we could do is we have these big flowers. I would say on a chunky side. Sometimes it's nice to do is take your same goal pan and hi there My nails. This is the Pentel sunburst, metallic medium Joe, I have a link to that. And then these two on my website because they are my favorite pens. I've tested so many and they're not perfect. They still sometimes will leak or get clogged, but they perform better than the others and the gold is yummy. So I'm just going to play with some drawing in some leaves here and there. I think the juxtaposition of the chunkier painted leaves with the more delicate drawn loans is interesting. Sometimes I'll just outline a leaf. Not precisely. Doodle within a leaf, like draw leaves inside it. And you can also do that with white or off-white. Let's do one of those so I can show you. This is a strange white beiges. It really is. But I think it's less than the ivory. My favorite lights in the flask is because there are not too stark the way a lightweight is. Let's see. I'm thinking about maybe the students on task. So right here, just looking for some bits of texture. We might come back to that. Who knows? Now these, these little guys would show up better if they were, some of them were aligned which can count look like a shadow. They just kinda say, Hey, it looks, Don't forget about me. I'm pretty same with these. We can just kinda come on loosely over the edge of them. I'm looking around thinking, Okay, what needs are more definition. We're interest or something. This is my Hi everyone. Make sure it's coming out. Okay. It's making more squiggly lines to represent those. David, I've seen Rose Hill, so I was feeling too dark inside there. It's kinda feeling too dark. So let's take some of this. I want it dark in there but not black. That's something to try this one. You can rub this cause go around with your finger and is paying basically. Let's see, do I want Let's say I did this and I didn't like it. When I'm doing here. I could just rub it off. In fact, I will at the top because I don't want to have all the way around. Sometimes I'll just read them like that to make them look softer. This is the eye of the beholder stuff. It's just playing until you feel like you're done playing. Like it doesn't want anything else. Which is just going to be dependent on the person. I'm going to have to lighten this flower outside still disappearing. Let's go ahead and get the white. And we can always turn it down. I've got my pasta, but I'm staying away from that oil pastel just because I don't want to get all pass all over my posca. I speak from experience. It doesn't help it. But what I could do is go outside the lines, which I might do here with a little bit of white just to soften it. And I can use my finger to dab it over there to Chris. Now that I have that white in there, it's making me feel like I need some put a bit of that in just a little bit. A few a couple of other places. Other way is just falls right in the center. So we could do here. Just here and there. Just make some little bits where, where, where would be good to put some dots. I'm thinking about maybe here. Basically now I'm using it as paint. I should get my white paint back out, which I still might end up doing. Because this is much thinner. But I just wanted to show you how you can do that. Tapping with my finger. And see do I want any more gold? Maybe just something a little here. Just going for a small and delicate. You already have enough, you know, sort of bold, chunky stuff. Well, I'm going to leave it, but I'm telling you right now that I'm feeling like, I like this a lot, except for that flower. But I've learned to do is. And it seems like there's always one flower is, give it those dense and come back and either think of how to make it so I like it better, or I'll paint over it and turn it into something else. So I'm not gonna do it now. I'm going to resist the impulse to do something with it now. And I'm going to walk away. Alright, we'll see you when I'm, when I come back. 18. Fixing and Finishing: Well, I gave it distance and I'm so glad I didn't mess with it because I do like to flower. It's just the issue is you can't see, you can't see the edge of it. So I decided I'm going to add a little bit and make a really pale yellow and get it to show up better. So instead of trying to use the posca white marker, I'm gonna go with paint, get it. Showing up better. Penn things always dry. A little bit more subdued than they look. So I'm not going to mess with that, but that already looks better than I can see it better. So I'm going to bring that same super pill over here and then maybe here. The other thing is I feel like there was for I wanted another leaf. She was here. Yeah. That's just easy. Let me show you a fun way to make a leaf. Let's see if you have the Neil color, the water-soluble ones. You can take the Cram and draw it and then actually put more Creon in it. And then take some paint and then just basically mix the paint with the gram. Weight pain. If you've already put your paints away. The tops are on and it's a pretty color, isn't it? Now I'm going to have to do that somewhere else too. You just a bit of highlight there. That's good. I mean, you could play with this forever, right? Mess with it forever. But we didn't put any gold dots. Let's do that. Why not? Everything is better with gold. Alright, so I have those dots over there, which by the way, probably need to be retouched because there pretty faded. They're just not showing that much. So let's do another coat on those. The ivory. I think I am getting near the end of this, since it's my favorite color and size of those, this ivory. Let's see, where would you be over here? Life is just vary the size of these. Kinda like them to meander. Need anymore. To need a whole lot in this way. It's pretty fun the way it is. Just thinking, do I want to keep adding bullying? Sometimes we think it can look really pretty to outline the painted shapes that you've made within a flower. Let me put some dots in here and then I think we can let this a couple of dots in the center here. And then we will let this dry. Just add little Samsung. Again, not being too precise, not trying to make perfect dots are in a perfect round shape. And I don't need to do them all. Okay, really you dry. I'm happy with that flower. And I think it adds, it's different. 19. High Resolution and DPI Explained: Okay, So I just want to explain a little bit about resolution because I don't want to assume that, you know it and it's, it can be a little confusing at the beginning, but it's really simple. Images come in a variety of resolution, which means basically the quality of the image. So if you take our painting here is at the top, just a picture I took with my iPhone. And you can see that it is size-wise, only 6.4 mb. That tells you that it's low resolution. Here's the image that we scanned and cleaned, ready for printing, and it's 81.6 mb. So you know that it's a much higher resolution. But let's take a look at both of these within Photoshop. And I'll show you the differences. So megabyte is the size of the file. We're going to learn about DPI, which is the resolution of the file. So now they're both opening. You can even see that the higher resolution ones taking a bit longer to load because it's larger. Alright, so here they both are side-by-side, side-by-side up here, but he can't see them both at the same time because they're two different files. We already talked about how one doesn't look nearly as good, but let's just talk about size. If I go over it here, image size on the one that I took with my phone. You can see here under resolution that it says 72 pixels per inch. Now, that's known as PPI, but most people say DPI or dots per inch. And that's because when the image is created, it's literally, I'm going to zoom way in. Dots per inch is what it's telling you. See these little pixels there like that same thing. We keep going even further. You can really see them. So this one is at 72 dpi. That's what we're going to call it, which means there are 72 dots or pixels per inch. The more pixels or dots per inch, the higher the quality of the image and the larger you can blow it up on products. That's why we want to go through the trouble of getting a high resolution image, because this one here on my phone, it might look okay on a very small product like a phone case. But even so, it's just not going to look as good. It certainly won't be able to escalate to a scarf very well. It'll start looking blur really and actually pixelated like that. Compare that to our larger image here. Let's go over here and look at the size of that image size. Here you can see that this one is 1,000 pixels per inch. Dpi, same thing, PPI and DPI or the same thing. Okay. So when I zoom in on this one, I'll still get to a point where there's pixels, but I'll have to go a lot further. Like the pixel started to show up about here. And the other one, I have to keep going and going and going. And really going way deep to even see these pixels. Because it's such a high resolution image. That means we could blow it up that big. That was just the leaf. Not even a very big leaf. But I could pull it up that big and it's still not see pixels. So that's just a quick understanding. But really all you really need to know about resolution, you can certainly Google more. But when you look at image size, there is the actual, it'll tell you how large this images, this one's almost 12 by 12 ", but it's really high resolution. If I wanted to. And for printing, it's perfectly fine to be at 300 resolution once you've scanned it. And then I could make the size of this bigger. That's getting a little more complicated than I want to. I don't want to overwhelm you in this class. So just know that if you've got a high resolution image and you'll know again by looking at that file size, even if you don't have Photoshop. I'm like I just showed you and merchandise. If you look at your file size and it's down in the I would say anything less than 30 or 40 mb. Roughly speaking. It's probably not very, very high-quality image. The size gives you a clue, and then the DPI gives you a clue. But if you either scan it at 1,200, likely do ***** you 1,200 DPI or you take it to a shop and say, I want 1,200 DPI, then you're gonna get this nice, wonderful high-resolution image. Okay? So again, you can take this pretty deeply and do that whole world and you're welcome to Google for more, but that's all you really need to know to be able to produce these high-quality images for these products. 20. Scanning Your Artwork: We want our image to be crisp and clean and scanned at a high resolution or capture it somehow and a high resolution because that will make our product look so good and professional. And just it just, it just makes all the difference in the world. And so I'm going to show you three ways that you can capture that image. I can only show you two. I'll tell you about the other one. Um, that you can get that image and our high resolution. I'm going to scan, show you how I use my scanner, my Epson, the 600, which is right over here. And so we will scan that and I'll show you that. So my process is, I scan with that and I edit in Photoshop. So I am showing you that even though I realize most of you won't have either pieces of the equipment or software. That's why I wanted to create this class to show you other ways. Option two is that there are stores, shops all over the world, printers, office supply stores that will scan a high resolution image for you. You take in your artwork. And they may ask you for a thumb drive. That's just a little tiny storage device. And there's in the States, we have FedEx does it UPS, does it Office Depot, Staples can goes, all kinds of stories and I know I've heard from my students in other countries, there are other types of stores that will scan a high resolution image for you, and then they'll give you your thumbdrive back with that image on there. So that's method number two. And number three is a DSLR camera. And I realize most people won't have one of those. I just got one myself. But there are a surprising number of people who know someone who has a DSLR camera. So you may know someone and all you would need to do is borrow it literally for an hour at the most or better yet, since they probably know how to use it better than you do. And certainly better than I do. You could pop over and ask them if you can use their camera or how they can help you. Just photograph the art. It's not, there's not a lot of instruction, but I'll show you on my camera that I just learned some simple settings that are recommended for photographing artwork. And I'll include a link to the article that I found most helpful. Shooting your artwork with a DSLR camera. I'm not an expert at it. I'm really a beginner at it. I managed to learn enough to be able to shoot some higher resolution photos of say, larger artwork like this painting here called juicy. It's just too big to get on the scanner. And I used to piecemeal stitch it together on the scanner, but photographing has been much easier. So those are your three options and there may be more, but those are the three options that I'm going to cover in the class, the scanning with a scanner, they're taking it to a shop that can scan it for you or photographing it with a high-quality, high resolution camera. Don't just use any camera. And I'll show you in one of the lessons what it looks like when I take a picture of the image with my iPhone, which is an iPhone 13, really, really nice camera. But you'll see, I'll show you side-by-side the scanned image versus the iPhone image, and it's not pretty. Alright, so let's get to these, Let's get to it. Let's do scanning. And then I'll show you my little tips on the camera. And then we'll have our high resolution image. Okay, so let's look at how I scan my artwork. I've got this pepsin be 600. And it has a good size bed, but it's still not big enough to do this whole thing. I think it's nine by 12 and this is of course taught by 12th. So what I do is I put it in here and I'm going to do two scans. So I'm just going to put it somewhat over from the edge. So halfway up against here, flush. Because it fits exactly there. You mean it's 12 but it's 12 " long. So I'll put it in there and then I close the cover. I like to put something on there. I don't have to be really heavy. Usually I'll take a book or sometimes they just use my stapler here. It's heavy to something to make sure that it's laying flat. You don't have to do that. Then let's go to our skin settings. I've got my scanner selected and every software is different, so you'll just have to set up your scanner per instructions. But I, I don't mess with most of these settings. I'll just show you a few things. So they do that I did find in here, I think improves things. Let me just scooch down here to settings. This was something that was hidden and general, which I leave alone, Preview, leave alone. But understand, there's this little thing you could tick, show texture. And I feel like it makes a really nice difference in my scans. So alright, back to the main window. This will all be defaulted. It's the scanner glass is your documents source. You're there is no other document type here, so that'll be just the way it is. I use 48 bit color. I've googled the differences and I can't really get any clear answer. I like what I'm getting with this resolution. If you're doing it, if your scanner can go up to 1,200 for this because we want to get it on some, we want to see how big we can get it to get it on more larger products. Go for it. If your scanner only goes up to, go up, go whatever your scanner goes up to, or if you take it to a print shop, see what they can go through and go to 1,200. You don't have to go any higher than that. For this demo though, I'm not going to, I'm just going to do 300 because if I show you, if I sit here and wait, while it goes high-res, I've already scanned it in a high-res and I'll use for obviously for getting it printed on products. But just to show you the process, we're going to do it at 300. We're going to save it. I don't mess with this color management stuff. Every now and then, I can show you my settings because every now and then I might go in and tweak something. I think I did tweak this awhile ago and had the auto exposure in the middle. And things were just, I felt like too bright and not Trudeau, the actual artwork and that was under cooling control. Colors think I don t think I did anything but yeah. Standard settings and it came was so that's that. And then thumbnail options, that's basically shut. It's showing you I don't even use them necessarily. As you can go away. That's much better. It's been up there for weeks. I just didn't think to close it. But image format, this is a boring. So your most important things here on the scanner or the ear scanners and photo mode, not document mode, because you don't want to scan a document, it's a photo. Think of it that way. Your resolution, which as I said, should be higher than this size, you can go up to 1,200. And then your image format, JPEG is fine. You do not need to do a tiff, which is a much larger file. For this, your JPEG is fine. It's going to be high-quality and then you're going to tell your scanner where to save this. Okay? So this is going to save in a folder of mine here. Then we'll scan the other side and we'll have Paul scans. Eric goes. Here, we see our image. Just look at it. There's half of it there. Let's go ahead and scan the other half. I'm going to remove my stabler. And I will say it's important to just move the scan over. Don't flip it around because lighting will be a little different and it's just best to keep everything at the same angle, facing the same way and just slide it over. That's it. It's trying to straighten it out here. It is easier to stitch them together. But if you have Photoshop, I'm going to show you the easiest way to stitch them together. We're gonna go back towards Hannah. Hands Canvas, same settings. And what we'll end up with is two pieces of this. And then I'll show you how to stitch them together in Photoshop. But if you take them to his canny shop, a FedEx or Kinko's or any of those, then they'll give you ones. Can you won't have to do this. You're paying fair. Popped in there. So there are the two scans side-by-side. Alright, so that is scanning with the epsilon 600. 21. DSLR Camera Tips: Alright, so let's look at the settings that I using this camera. And I just want to make a huge disclaimer here. I know very little about photography. I've literally learned the very minimal that I've had, that I've learned. Just to be able to photograph my large artwork by doing some research. So you probably know more than I do about DSLR or you know, someone who does, but I just wanted to show you what I, in case you don't. The three or four things that are important. The most important thing is lighting. So some people have success photographing outside. And then some people say, I've read articles. Some people say, Do not put it in the bright sun. And then I saw another article where they've had great success putting their images and the bright sun and photographing them. I've stuck to my studio just because I can control the lighting here. But that's that. Then I you can try the auto mode on the camera. I have found it. It's not bad. So depends on what you're doing. But the perez, I mean, real photographers say never use auto. But I will say that they almost all agree to get the highest resolution to change the image quality to draw. So this is a cannon and that setting is found under this, this little camera icon. And I've got it on automatic right now, just so I can show you that. And then under number one, so there's 234 and the number one is image quality. And then you just, on this camera, you just touch what you want. So I've got the large I had to look up what all this meant. This is the large rock. I want the biggest file I can get on this camera. It's 32 mb, so that's big. And that's the biggest option there is here. So that's what I've done. And then the other setting would be a little bit further here. Let's see here. Hunter, looking for my ISO because they like you to have your ISO 100. I think I have to turn it back to manual to get to that. Well, I'm actually now let's do the f-stop because that's right. They're slimy. Change it there. Okay. Got it at eight. But it would be 8-11 is where you'd set it and you can play around with that setting. That's to let in as much light as possible. Alright. And then the last, so there's ISO, there's F-stop, there is the image quality, and then there's lighting. So those are the four things. There's my ISO speed settings. It's set on Auto right now. And I've played with 100. And depends on what I'm doing. I'm using the camera for filming this class right now, so I've got it on auto, but 100 is what's recommended. And again, I'll enclosed article which is by a real expert who uses the DSLR to photograph artwork to use for prints, which you need an even higher quality than we do for print on-demand. But I just wanted to show you is another option. And these cameras can be so intimidating. So I just wanted to find out the least amount of knowledge you have to be effective and share that with you. The other piece though that I learned, and you can tell what a beginner I am because I bought the wrong lens at first. I did not buy a wide angle lens and I'm not using this camera to fill, to photograph things are far away. So I did change that lens out for a cannon to 16. So this is a short lens that's wide angle so I can get really close to the artwork. I can get 2 ft away because you want to fill your screen. Let me just show you. You want to be able to, this is too close to actually show you the way I'm filming this, but you get the idea that I want to make sure I'm filling is much of the screen with the artwork. So I want to get, actually that's about right, right there. It takes the whole image into that screen. And from there, you want to be really careful. You could have a tripod so that you're not moving because movement causes blur. But if you're lighting is good and you hold your breath, you can get it in focus. You can get a good, This will autofocus for me and get a nice quality image. Okay, so that's the little baby one out one. I'm using a DSLR camera to capture your high resolution image. Once you've captured the image, then I've got, I'm sure you would too, and your camera, these little memory cards and these come out. And luckily if that's right into the back of my computer, and then I just upload the image from there. There are other ways to get it on there. But if you've got one, you probably know how to do that already. You can also use via Wi-Fi with some of these cameras. Alright. 22. 2 Ways to Clean/Edit: So I'm going to show you the two ways to edit. I'm sure there are lots and lots of ways to edit or clean up your image, but I've narrowed it down. I'm trying to simplify it for you. I am going to show you the kind of designer a way with Photoshop, but I've even simplified that the Photoshop changes. There are free trials all the time right now at seven days, but it has been as much as 30 days. So whenever you're taking this class, if you don't have Photoshop and you want to give it a try, I am going to show you how I edit and clean up my images in Photoshop. And you could grab the free trial, even if it's seven days, you could kinda tobacco in your class, start the trial and give it a shot. Especially if you're just looking to make one or two products and have fun with this and that's it. Then you don't need to subscribe. So that's one option, but I wanted to have a free option that was simpler and I just want, I want to make this whole process accessible to more people. So I researched a bunch of apps and there are a lot of editing apps out there, photo editing apps, tons of them. But a lot of them. When you edit, you take your high resolution image that we've, we've gone through a process to get. And you put it into the foot these photo editing apps, it reduces the and then you do your edits and save it. Well, it saves it as a low resolution photo. It doesn't save it as the original high resolution image that you put in that you imported. So that defeats the whole purpose. And I found out about that by accident. So I have found an app that does what we needed to do. And I found a way to save the image that's pretty simple so that it retains its high resolution that we need it to have for the products. So that app is Photoshop Express, and I'll show you what that looks like. And so I'm going to show you both let me show you the Photoshop software, which I'm realizing it they probably sound the same to Photoshop in Photoshop Express, but just think of Photoshop as the software designers use. It goes with Adobe Illustrator or a simple version called Photoshop Express, which is an app on your phone or iPad. Okay, let's explore these. 23. Cleaning Artwork in Photoshop: Image files are here on my desktop. Way over here, It's a big desktop. So there were there but I pulled them out of Dropbox, which is where I store a file so that it'll be easier to show you how to edit them and grab them and edit them in Photoshop. So we're going to grab on by selecting it and hold the Shift key down and select the second one which gets them together, see other book together. And then without lifting, I'm still dragging them with my finger down. I'm going to drag them into Photoshop and they'll open in Photoshop. So you see here There's one of them and appear as the other one. Both images are there, but they're not together and we need them to be together. So get ready for some magic because this is just mind-blowing. And I still see some designers teaching the old way where you try to match up the images and this is so much better. So you go up in the file, up here, you have all of your options here in Photoshop. You go down to Automate. And then you go over here and all the way down to photo merge. Alright? And then, you know, it's, it's looking for the source files to merge. And so you say open files and both of those files automatically populate there they are. And you don't have to, you know, I've got blend images together. You don't have to do any of this other stuff because these aren't that big. And you click Okay. And while I just let it see the little circle here, it's thinking working, working magic. Look at that. Amazing. So it's stitched it together, but we still have work to do. So you can see that it's not perfect and out stitches it, you can see up here, there's some bits that didn't quite get translated the same way. We're going to fix that. But before we do that over here on the right, you're going to see here that it's showing it's still two separate documents and they are selected. That's what the dark gray shading means. So before I do anything, I'm going to right-click layer and merge layers so that now it's one document. I don't, you know, you may not know much about Photoshop, but everything's done in layers. And the way we had it before, it was showing us a stitch together version, but it was still actually two different pages if you think of layers as pages. So now we've made it one page and there it is. Now you'll also see that you see on the side here are the bits of the scanner bed because it's scanned everything. It's the first thing we're gonna do is crop this image to the right size. We're gonna go over here to the crop tool which looks like this, this little sort of crap. They look like little crop images. And when you click that and you know it's selected because it turns dark gray, then you're going to see these little handles that appear here and on the corners are all around. So that's what I'm gonna do is grab a hold of those handles. Just crop in and some of the size will be easier than others. These two are pretty clean. I'm cropping just a little bit. And then down here and up here, that's where we have to do a little bit of work. But I am going to crop a little bit because I can see there's a possibility for a little bit there. Yeah, I grab that and then we can get that down here just a little bit now, it's wanting to snap. So sometimes that means that it's low in wants me to select. So I'm gonna go ahead and hit Enter and grab those. That means I accepted the crop lines that I made, so it's now cropped and cleaned. But I was gonna say sometimes the crop lines can be jumpy and snappy and for just not very precise. So what you can do is zoom in. Let me show you how you zoom in and out. You hold down your Z on your keyboard. Just hold it down and then lift your mouse. You're going to click and drag. The shortcuts literally become second-hand. And if you know Photoshop and you know those, but I'm just going to assume that you may be a beginner. So zooming you'll need to know are the two main things you'll need to know are zooming. So practice that zoom in and out just by you hold the Z button key down. And the other one is just moving, which mean which is holding your space bar down and then the little hand appears that allows you to move your canvas around. So if your crop tool is not getting as close as you want, it can help to zoom in. So press your Z key and then grab that little handle. And if you can get a little more precise. Okay. We're going to zoom back out and we can see some cleanup that we have to do on the image. So we're going to zoom in. And I like to just go back-and-forth between the Space bar and the key that is a z, so that I can navigate around. So I've navigated to this corner where you can see down here. Do you see that? Let me zoom in more so you can see that it's showing transparent. That means the image groups. Never mind that. I just I hit the Crop tool again. Okay, let's go back to magnify. And then I move the whole image. So I'm glad that happened because I want to show you what to do if you do something and something happens and you go, What just happened? I did just to Command Z, Command button and Z will undo the last thing you did. I use that one a lot too tight. Back to zooming in here. I'm going to show you how you fix that because we need this image going all the way to the edge. For a nice clean image. We're working on the edges first. And then we're going to work on the rest of it and do editing and just get it looking very pretty and ready for printing. Alright, so let's zoom in a little bit. I'm gonna show you a couple of tools. There are up here, your various tools. The one that I use to clean up is this spot healing brush. It looks like a band-aid. You click it. It should be the top one. If it's on one of these other ones that is under. If you click that and then right-click these others, come up, make sure it's on that spot healing brush. Another shortcut or a shortcut for that is j. So you can hit the J key and get that. And you'll know it's selected because you'll see it's great. Alright. Now, do you see this big circle? It's my brush size and it's too big because I want to work down here along this edge and that's just too big. So I'm going to reduce it by clicking the bracket key on my keyboard. So not parentheses, but you'll look and you'll see there's these brackets. And the one on the left makes your brush smaller and the one on the right makes it bigger. I'm clicking them now, so I'm going to kick on it smaller. So I'm going to click that left bracket tool. Alright, pause the video and rewind. If I'm going too fast, when I'm trying to strike a balance between not going too fast and not too slow. And what we're gonna do is heal this by literally just clicking a mouse. You can probably hear my mouse and dragging. So I'm putting the brush, the spot healer over the spot. I'm clicking with my mouse and dragging and it just disappears. It's content aware. So it knows like that that this little pink spiders coming up, so watch it'll just add it doesn't. And if you want to redo it, I didn't like the way it did that. I just clicked on top and get a different, a little bit of a different mix. You're going to use this tool a lot. This is what you can use to remove dust and spots and make corrections. And I kinda go around the document, around the outside first and then on the remedy inside and make sure it's nice and clean. So here's a couple of spots and this kind of peas, we do not need to remove every little thing that's part of its character. But if it's dust or something that wasn't on the original or cat hair. Sometimes my cat gets in here and it'll be a cat hair on their than we do want to remove that. So over here you can see on this edge and I just clicked on it. That's all I did. I positioned the circle over the spot and clicked and it's gone. Now, there should be default, but I just wanted to show you these settings up here. If you're healing brush tool is acting funny. It might have somehow gotten on one of these other options. So just make sure it's on content aware and the mode should be normal. Other than that, he shouldn't need to do anything. And you can also reduce your brush size up here, just so you know. Alright, then I'm going to take it back off a little bit because I'm just going to bring the brush along here and clean up that. I don't know if you can see, but the paper, there's a bit of where I'll just zoom in so you can see a bit of this gray or the paper did not go to the end. And don't get overly fussy. The thing that problem with Zoom is it sort of like looking at a magnifying mirror. You start seeing every little thing and thinking that has to go, that has to go like these little spots or that spider, that's fine. I don't know. If you clean it up too much, it'll start looking like a computer-generated piece of artwork. So just be, you know, don't don't don't go crazy with them. Dm me with the cleanup. Alright, now here this is, let me show you how to handle this. So it's probably going to take the orange all the way. Yeah, I usually does, so that's fine in this case. Why didn't like that last one than it did. So what I'm gonna do is is reduced my brush and just come in here and keep clicking until I get a lot of this is trial and error. You navigating with your space bar, clicking and dragging. If you don't like the way it healed it, then you can undo or you can just click again and see if it gives you a better option. Let me zoom back because this is way too big. Let's just, I'm looking at the edge now. Okay, Here's another bit of edge that got left out and scan. So I'm going to take that all in one big stroke. Scout one's gone. I think this whole edge was fine, but always good idea to take a look. This is along the bottom, so let's clean that up and there's a little bit down there, I see my skin to clean that up so that now all the edges are edges are done. Now show you how to clean up the inside. We'll do that next. 24. Editing Artwork in Photoshop 1: The image edges all cleaned. We've got it stitched together. Now we're just going to use our Zoom and our little hand tool and move around the document. You want to make sure it's clicked so that you could use these tools. See this layer over here. Sometimes when I just came in at the sea like that, it's not selected, it's not going to let me do anything. So just click it. That's telling the program that I'm working on this right now. I want to work on this. And I'm going to zoom in. Not terribly like I said, we don't want to before horrified looking in the magnifying mirror. But I see a few little things I could clean up, like maybe some of these brushstrokes right here that came out. And I'll just kinda come in there. Not too much. Some dots. I like just the way that something like this which is a bit of paint that was underneath there. We can take that out because it's a little lumpy looking. I'm I'm mostly looking for a piece of dust or cat hair that shouldn't be there and I'm holding down, oh, good. Is if I planted it, here's my hair. Looks like the cat hair dog here. So you just drag and do it in pieces because it's so long to start with. You've got underneath and it's gone. That looks like it wasn't supposed to be there. Here's a couple of other paint chunks and things that we can get rid of. Isn't it amazing this tool? So I'm just using my space bar again. So hold down when I want to drag like this. And I'm using right now, basically three tools as I do this, my space bar to move around like this, my zoom tool if I need it. And then my spot healing brush. There's another pink chunk. I don't see anymore. Here's here. And so you can go around the document any way you like, Oh, there's a little bit of piece of dust or hair. I kinda go over and then back and back and forth horizontally. But if you want to go up and down, It's just, you're just trying to take a look at the whole image and see where it needs to be cleaned. So I'm going down this whole time. I'm doing this, I'm moving like this. I've got my around the space bar, which is hoping you drag. Might be the spread that seems kinda raised. Take that out and this black dot seems a bit out of place. Person. None of this is something we'd ever really even noticed. But when we are blowing this up, remember we want to blow this up pretty big. Those things will be more noticeable. So you don't want that Pam going cross here. The bottom has a bit of turquoise paint that right? Alright, so that is the cleaning part of the editing. Now we know it's clean, edges are crisp. Now let's play with some adjustments. This can get really fun. And I'm like, You didn't get on a real rabbit hole here. So I'm not going to do too much, but I'll show you some of the usual ones that I look at. So that's up here in the adjustments layers, you click Adjustments and you'll see these little icons that Paul Stanford different things and you can play with them all. Some of them I never use, but make sure your layers click again. And by the way, we can name this up. We want to, if we want to name the just cut that image name, we just double-click it and say pink artwork. It doesn't. You don't need to, but just so you know that you can do that. Alright. So let's just go through a few of these brightness and contrast. So what is going to do since I click that, it's going to put this on top of my image. And it's basically saying, Okay, I'm going to do these things to your image, but I'm not going to actually change your image. It's like a an adjustment layer mask that will think of it as this image is your eyeballs and then these are gonna be eyeglasses. Maybe not the best metaphor, but It's not actually changing your image because all I have to do is take this eyeball off and whatever I do. So let me show you a Bezier if you see it. So let's say I turn the brightness way up like that and like, Oh, that's horrible. I've just ruined my document. No. Just take off, click the eyeball here and you turn off that filter or Adjustment Layer, Mask, whatever you wanna call it, whatever works for you to understand it, and then it's gone. So let's take that brightness back down I just wanted to show you can also darken it. Contrast is an interesting one. I often will turn the contrast down because. Really high can be kinda jarring, but it just depends on the image this scanned in. I thought a little bit fuzzy. I think we should turn the contrast up, pop just a little bit. So I just turned it up to three and you just play with these sliders. Again at anytime. You want to see what it looked like before, after you click that off, click it on and you can hardly tell the difference. I'm sitting here looking at it, not through a camera. And I can barely tell a difference, but it live ended up a little bit. Alright, now the levels is what I use the most. So click that. And these are various sliders along here. And you can slide them in and you'll see how much more intense and clear and just vibrant it becomes. But I don't want it in there and that's it's personal preference. You might not adjust this one much. The middle one will do the similar thing. So you just move it around and say, Okay, I like that or no, I like it softer or whatever you like. Then there's one at the end. We'll lighten it and brightness. So you just play with them. I do not know or need to know technically what all of these do an arc. That's just not I'm not going to take that kind of time. But I play with them and I know what I like and I played with them and learn about them that way. Alright, So then we don't need these exposure, play with all of them if you want. But vibrance is a good one. We definitely don't need this more saturated, but let's just play with if we did Ouch, my eyes hurt. Okay. If we wanted it less saturated. And sometimes I will bring down the saturation. A couple. Just depends on how it scans. So that's that's minus three and I think that looks pretty good. It also looked good at zero. So vibrance is a little different than saturation. It's hard to tell the difference sometimes, but it's less intense. So you might find that it works to turn the saturation down of it and then the vibrance up a bit. So there's just so many things to play with in here. Let me think if there's anything else, I don't want to overwhelm you, but a fun one, I will just do this one because it's fun, is the hue saturation. So that looks like this. It's like a little color chart. Let me go back so you can see it. Make sure you saw it right here. Hue saturation. Click it. And it is first it'll have the master, meaning it's going to change all of these colors. And again, remember we're not doing anything permanent to our artwork. In fact, if we're worried about that, we can come down here to our artwork. And locket. See that little lock button here. And that will make sure that we don't do anything to it. 25. Editing Artwork in Photoshop 2: Let's play a little bit with this hue saturation layer. Basically it's a color changing layer. Hue means color. So if we keep it on master, we can drag the slider and you'll see it'll change dramatically. Goes into the purples and blues and yellows and go this way. And then we can go back to our original and this way. And most of these options are not attractive because it's just too extreme. It's changing all of the colors and it's too much. So I'm just going to take it back to the middle. But what I wanted to show you, of course you can do saturation and lightness, but we've already done those with other adjustment layers. But here under master, what I use sometimes just to get the artwork looking more like the original. This one really does at this point. But let's say that yours didn't. Let say that the reds were to read sometimes the resole scan and really bright. So you can go to the reds and just take the saturation of the red only I'll take it down a lot. So you see there's a lot of randomness brings down a lot. But if I just wanted to tone down the reds a tad, I could take it down minus four or five or so like there. And or I could make them lighter or darker, darker later that I'm going to leave alone. There's this fun to play with. Or I can take the reds and another color direction, shake them more to a magenta like this. I just slid it to the left. And sometimes I'll get my artwork in here and say, Wow, I like this better. I want to have two versions. I want to have this version and the original version. So you can go really perfectly with the reds sensor is so much reading this, it is changing almost everything. And then we can go really yellowy parents. So let's take that back. I want to show you the let's see what else we have green on this. So let's try modifying the greens. So you select greens and drag those notes to see them start to turn. Variety of shades they went and kind of a more olivine and purply. And then if I go to the right, they're gonna get brighter, bluer. And I like them where they were. So I'm going to leave that there. But I just wanted to show you this. These are a lot of fun and sometimes I'll come in here and play like this and then turn them all off and say, Well, did I even change this much? Let's do that. And we did it. It has more pop. Now let's see. That's what all of them off. Let's turn them back on. Yeah, That levels layer more than anything. I don't think the vibrance layer done anything. And the hue, the hue took out a little more, just a tad more purpley. So that's kinda pretty. But since the vibrance didn't do anything, I'm going to delete it because there's no reason for it. So I'm going to select it. Come down here to the soul trash can and delete. And delete again. Alright, so there's my artwork now. From here. If I'm done saving it and you're saying I'm never coming in this file again. I don't need this file for editing or I don't want to. I don't care about these different layers. In other words, if we save it as a JPEG, then it will save with these changes we made. And it will alter the original. And so we can save it that way. But if we want to save it just as it is with these layers here, still there for us to be able to turn on and turn off and modify and not change the original than we would want to also save it as a PSD file. So let me show you. We'll pair File, Save a Copy. We'll go ahead and save it as a JPEG. So that's right here. We are going to embed the color profile. That just means keep it the same colors it is. I'm going to just put it on the desktop here. And I'm just going to call it pink blooms. I didn't name this pattern. Let's go ahead and call it what I named it pink delicious. I named it that in red bubble. I'll show you that when we get to that stage. Pink Delicious. All right, I'm going to save it as a JPEG, and that's going to be our file that we use for red bubble. It's gonna be a high resolution file. Save. Save it to maximum quality. Oh, you know what? Before I do that, I want to show you something more thing. Appear in image. Let's check the actual size of the vacuum image, image size. This is where we want to see how big is this and see this one is not quite right because remember I told you, I I scanned it smaller so it would go faster. So it's gonna be yours is going to be much larger. It's going to say the 1,200 or 800 or 600 or whatever you whatever you scanned it in. And my my one that we're going to use is also large. But I just wanted to show you how to check the image size. Let's just kind of an interesting thing to do is say, okay, so It's this size at this resolution. Okay? So file, save a copy and you go back to do that again. Jpeg and bad color profile and delicious. I'm going to say think delicious, small because I don't want to get it confused with my larger file, although I'll be able to see the file size and I'll know and I'm gonna save it. And yes, you want your quality all the way to the right maximum. Say Okay, that's going to save right here on my desktop. There it is, in Delicious small. It's still saving. There it goes. Now that's going to be on my computer, already edited and ready to send off to red bubble. Now let's look at if you don't have Photoshop and if you are using you're starting from your scan that you got at a shop or through your camera. And your scan would look more like this one looked. I'm going to take it back. I'm going to show you how you can go back in history to see if it'll let us go all the way back to the beginning. So you go to you go to what I just did as good a view, humming window, sorry, window. And then history. And this little guy will pop up right here. And then you can see everything you've done. It will only let you depending on the amount and your program saved to a certain point. So it didn't unless we undo all of this, but not everything we did. Which is fine. I'm going to prepare a file that would look like something you got back from a shot from a scanner or something you photographed. But the other thing I wanted to show you is we have a nice high resolution file. And if you have taken I wanted to show you a few, just taken it with your phone. Here's an image I did that. I'm going to open in Photoshop so you can see the difference. I want to show you why you want to get a higher resolution image. Well, first of all, the qualia that is, and I have a nice phone. I have an iPhone 13. So let me just crop it in so we can just see that the difference in the colors and then the quality of the scan. Now we could alter this with our adjustment layers and get it looking better for sure. But what I want to show you is if we zoom in on it, you're going to start to see pixelate really quickly compared to our file here that we scanned. So let me go back and I'll show you. Let's just pick. Doesn't really matter where we pick. Let's just pick this area here and zoom in on that. So you can compare the two. If you start to zoom in and remember when your product, your artworks, not a product is gonna get expanded, then you start to see this pixelation. Sorry about that. The same thing I did before. My fingers are just so you see this pixelation here and you're going to see it on the other one too, because it's not I always candidate at 300. You know what I should do? Let me, let me just pull in my mind really high resolution, one pink delicious painting because that's the one that's my Dropbox folder. I want to make sure that the right yeah. Okay. I know where it is. I put it in my artwork file because that way you can be ready to meet reprints. You very much So you're, you're gonna be in here. Delicious. Okay. See that's 81 mg milligrams, megabytes. Oh my God, those funny. I'm going to bring it into Photoshop. This way. We'll be comparing apples to oranges, which is what I'm trying to show you. Oh my God. I'm hungry or something. Alright. Here's my large file. It's called pink delicious pod for print-on-demand. This one I scanned at 1,200, so it's really high resolution. And then here's our photograph. Remember this. Okay, so let's zoom in there, that same flower. Let's go find that same flower over here. It's right there. And you see the difference. I mean, I'm still not at the pixelated. There are some pics. I can see pixels if I go really, really, really see that some pixels. But do you see how far I have to go in to even see the pixels? Whereas this one's pixelated here. So the color, the quality, the lusciousness of the image, texture. All of it is just night and day. So I just wanted to show you that if you compare the two. So it's well-worth. Look at that. It looks like two completely different art works, doesn't it? Alright, so we've got our File Save. I will prepare a file that would look like something. You might go back and get back from the scanner. And then we will edit it on Photoshop, Express the app, and show you how if you don't want to mess with Photoshop, you don't have it or you don't want to get the free trial, then you can look at this option and I'll see you in the next video. Oh, one more thing I wanted to show you because I promised you that I'd show you how if you do want to save this file so that all these layers are here and you haven't changed the original. You just do the same thing. File, Save As, save a copy, but you're going to select here and it should be automatic Photoshop, which is a PSD file. That means the last three letter would be PSD instead of JPEG. So same thing, we're going to name it pink delicious, small. And I know them that it's the PSD file, meaning it has all those layers in it. And I have not change the original. And I can come back in anytime and make another colorway or really do whatever I want to it. That means I have two files over here. My pink delicious small JPEG and then my pink delicious small PSD. Okay. Just wanted to show you that. Now we will get into editing with Photoshop Express. 26. Editing with Photoshop Express 1: Alright, let's talk about how to edit your artwork without Photoshop. As I mentioned, Photoshop is a great option. It's got a lot of abilities. I feel like I've dabbled in it and worked with it for years. And maybe you've scratched the surface, but it's not necessary. And you can do the free trial and see if you want to continue to learn it. Or you can use this option, which is an app called Photoshop Express. And it was free when I downloaded it. Sometimes these things change, but if anything is probably a very low price. So we're going to look at how you can edit your artwork. It does the job and yet you don't really need Photoshop. Does a lot of the same things because we're not doing massive editing like some of these programs. And I also figured out a way with this half that retains your high resolution image because the problem with a lot of these photo editing apps is you bring your image into them. You do your editing and then you save it. And you don't realize it, but it has just saved a much lower resolution image than what you imported, which defeats the entire purpose of everything they've done to capture a high resolution image. So I've got a little bit of a hack at the end of this that's really easy to make sure that it saves as the same high resolution file that you put in. Alright, so let's take a look how this Photoshop Express works. Alright, I just wanted to show you in case you're not sure how to download the app from the app store. So again, pretend this is my phone. It's just a large phone. Basically. You're gonna go to the App Store and you're going to type in, there's a lot of different Photoshop app. So that's why I wanted to show you because it can be confusing. Photoshop Express. And it's the one with this icon that looks. It says open on my own because I already have it, but I wanted to show you the icon. It's a POS, but then it has a diamond shape around it. That's different than Photoshop, which is a more it's more like the Photoshop on the desktop. And I've got that too, but I believe that that I know that you have to pay for that. So the one we're looking at is the one that says Photoshop Express photo editor. So download that and then we'll get started with the editing. Alright, so what you're gonna do is you've got your, you've already got your image on your phone. Rid of pretend this is a phone because it's the same exact setup. And my phone is too small to show you this adequately, but just pretend this is your phone. You've gotten your image onto your phone. Either. The best hide, the best way that I do it that I think is to AirDrop it from your computer. Or if you got your image scanned at a shop, they're gonna give you a thumb drive and you put that on your computer. Once you see the image on your computer, you can AirDrop. Airdrop is a really easy like I could AirDrop this right now by hitting that arrow up, see this AirDrop. Airdrop. And then the two things that are open right now they're mine are gonna come up. My iMac, which is my desktop or my MacBook Air, which was my laptop. Just make sure that whatever you're trying to AirDrop to is awake. My phone is not showing up because it's being used to film overhead here. But that's what you're going to look for is your phone. And then you're going to have your image there. This is the image that what I did is I recorded or captured an image that's probably about what the scanner the shop will give you. They will probably still have an edge on it. It's not edited of all, not cropped and so forth. So that's what I got here. So I'm going to go out of that, go into Photoshop Express, which is this one here. And I'm going to select, Edit. My turn it this way. Maybe leap bigger for you to see. And I'm going to find my file there it is. Alright, so we have my heart work that needs to be edited. The first thing we're gonna do, just like we did on Photoshop is we're going to crop it. We're going to take care of the edges. We're going to clean up whatever needs to be cleaned up there. So I've selected crop right here, all of your commands in this app or down here on the bottom. You've got crop right ear. And I can zoom in just a little bit more for you. So you can see. Let's see, There we go. Okay, so then you're going to just take these little guys, these little corner things and crop to where it looks like it makes sense. Alright. And then you just hit any, any other button, makes that crop permanent. Then I'm going to look at the edges. Gosh, this one doesn't really, okay, there is, I was going to say a little bit of piece up there that needs to be fixed. So there's a little bit of area just right up here where there's like a white showing through. Now there's two ways I could fix that. The easiest way is just to crop it a little bit more and bring it down. But I'm going to show you another way in case. In case you don't have room to crop it and you really just want to fix that. And that's what we're going to start using, which mostly what we're going to use here is the healing brush, just like in Photoshop. So healing helps us get rid of little bits that we don't like. The area we want to work on is up here. No, I don't wanna do that. Anytime you need to undo because you're touching and doing things that you may not want to do is just hit the Undo button. I'm going to bring this down here. The area. And you can see it's just a little bit of white edge here that we don't want. So I've got my heel tool open. The first thing you're gonna do when you open the heal tool though, is turn off blend. Because this little blends thing, you'll be frustrated because you'll be saying where, what's going on, because it blends two different colors together, the color you're trying to get rid of, and then the color you're on and that's not we're trying to do. We want to replace them. Alright? So we've got that de-selected, so it should look like that black. And then we can use our finger or an Apple Pencil. And now when I touch there, It's telling me that it's borrowing. Can you see that? Zoom in is where I attached and then it's telling me the bit that is borrowing to replace two, which works? It works just fine. So I'm tapping because that worked. And then I'll do it up here. Borrowed from right below, That's fine. There's a little bit left though. There we go. There's a little spot there on the corner. There we go. Now what if, let's say it did this but it pulled the sample from down here. You can see that what it's saying is, do you want me to put this bit of orange right there? And I would say no, and I would just drag this up here. And while it's finished this here, it pulled perfectly. That works. Tap to accept it. Tap again. Business amazing. Tap. I'm just cleaning up this whole edge because there's that same white bit of white there. Now, look how smart it is. It could have pulled from right below here, which would not have worked. And then what if it had done that? Then I would have moved it to their tap. So you can see how that can be a lot of fun because you can do things like, let's say you want to create some, let's say I wanted to add more dots here. See those dots? Well, if I want to add more dots, then I can tap and then take my arrow to the one that's telling me what it's gonna do and put it on a die. And I've just added a dot. Let's say I want to add another dot right there, but I want a different shape dot. Let's see, Let's use this one. Tap. Fun. So you can actually, technically, if you increased your brush shape, you could add. Let's try adding. I haven't tried this with this, you can do it with Photoshop. Let's try it. See what happens. You could add maybe a whole, whole flower. So there's that. Now I want to reverse these. I want yeah, look at that. I could at all other flower somewhere else. That's fine. But we're going to undo that. Undo. I've done to a few stages there. Okay, That's the beauty of undue. Alright, so now we're going to look through our document and just see if there's any places to clean up. Again, we're not going to be overly fussy. This should be pink here. I'm just going to grab touch my need to make it a bit smaller. Let's see. Come down here. Actually, I think I'll just rub there and it's going to ask me, do you want the green? I'm going to say note, whoops, that was too big. Let's do that again. Make a smaller brush. That's what this bar is. I'm just going to rub right there where I want that green gone. Oh, and it got smart and said, oh, this is what you want, sort of except there's a bit of green there. So I'm just going to move this over a little bit and tap. There we go. Let's see what else. If I just use one finger to try to move it, it it starts doing the patch, the healing tool which we don't want. I'll just get rid of that little that little red dot there. And like we've talked about, we don't, we're not looking for perfection because that's the whole point of a hand painted piece. Just mostly anything that looks like it doesn't belong like that. Dog or cat hair right there. Alright, well, that took care of that part in the middle. That took care of that part, fair? Now we need this part. 27. Editing with Photoshop Express 2: No, not quite there. I guess I can do that and then clean that up and clean that up? Yep. I always forget to tap to say Yes. Yes. Thank you. Here's a bit that's like some kind of pink chunk. Cite another one there. I take those out for this kind of thing because while they look great in the painting on the wall, they're part of its character. If they're on a, say, a bedspread, just sort of look strange. A 3D chunk of something. Let's see here. I'm just looking through, there's another one of those 3D paint. The paint hardened or something. And I wouldn't phosphate this, but I just wanted to show you for demonstration purposes. I guess I need to make my brush bigger. So it pulled from up there. I can pull if you need it to pull from somewhere else. Where you can have a lot of fun with this tool. Okay, So got it cleaned up. Now we're gonna go into these, some of these others. The first few are useful really the first one or two. These things over here, I wouldn't mess with the mean. You can play with them of course. But you're adding text here and themes and borders and stuff you're just not going to use. But let's go into adjustments, which will then give you light. Color affects details and you won't need any of these at the end, but light is important. So there's all these presets that you can do with light and you can play with those. And then you just toggle up or down. How much you want to do that particular effect. This takes it almost to a white background, which I don't want. Here's a here's a black. So if you want to darken it, It's really like what we would call black point. And here's some weights. And then you can do temperatures. So you can make it show it shows yellow here and blue here. You can make it cooler or warmer. And I'll use this sometimes when I painted something and I want it to be a tad more pink. See how that changed. I'll go toward The cools. If I wanted to be a tad more red. Go in that direction. So that's fun to play with. Then you got your vibrance, which is similar to saturation, but not as intense. So I can turn the vibrance up in this. I wanted to saturation. I don't wanna go too far with that because little, right. And then these are the ones I probably wouldn't get into because texture clarity, I mean, it's already here. I don't want to make it fuzzy. If you go too high and clarity, it can get really sharp looking, but actually it does look a little better, a little more clear. So we'll do clarity. Let's see if there's anything else I wanted to show you. A contrast is important. That's the first one. If you, if you have too much contrast, it can look garish, but that's just a different look. If you have too little, it can just look sort of blah. So it really just depends on the artwork. You play around with all these here. Color options, tint blacks, whites, and get that the way you like it. And I'll just show you this looks, It's just kinda fun. What they've done is they've made these dozens of presets. Here. Let's see here, What did I found? One that was kinda funny? 90s aesthetic. I don't know why that's 90s aesthetic, but, but it, it, it's kinda cool looking, but it made it really kinda grainy. And so I wouldn't use these just because I don't know what they're doing to the integrity of the image. That they're just kinda fun to play with. There's lots and lots of them Lighten and let's see. Lot of them are for human photographs because it says things like skin on it, food, different kind of filters essentially. So I'm going to turn all that off. You can try one, just make sure that if it saves it, if you save it, it's still saving in that high resolution image. And I'll show you how to check that. Alright, so I undid those were done. And this is an, you can also save a couple of versions because I noticed sometimes I'll save an artwork and then I'll look at it a couple of days later and say, no, I really liked the softer version of this. Now here's where you save it to make sure it's saved in high resolution. You go right here. This is not see, your photo has been saved. That's not what you wanna do. You can do it. It'll just save it to your photo album in your phone. But it has saved it as a low-resolution image, which you want to do is go to the up arrow. And then you're just going to scroll down with your finger two more. And then this is where you just AirDrop it to your computer. Back to your computer. So I would hit AirDrop and it's going to appear over there on my computer. And it's going to be in the same resolution that I put it in when I entered it. Alright, so that is how you add it with Photoshop Express. So we've covered, let me flip you back to me here. We've covered now three ways to edit your right. I mean, three ways to capture your scan. Sorry. We've captured the using the scanner, using a taking it to a shop, and then using a couple of settings on a DSLR, DSLR camera. And then two ways to edit, either with Photoshop or Photoshop Express. I'm sure there are other apps out there. I played with several before I chose the one for this class. I just chose the one that I felt was most effective and easiest to use. And don't forget, if you use another app to check that it did retain that high resolution. I want to show you let me actually, before we go, let's show you how to make sure that an image is high resolution. So when you look at an image, so here it is on my on my phone. Let's say if my phone, any image, you can go up here to I for info and you'll see how big the file is. So you can see this is just 3.5 mb. So that's a version of this that's very small. Then if you look at the one we just saved, it's not as high resolution as what we're gonna go with, but that's 4.6 mb. And then when you do your, Let's see if this is my high res super high resolution. Yeah, here's my artwork ready to go. And you can name these different things, but you can see this one is 81.6 mb. That's the size I want. I want that big size. So this is the one that's but that's how you can tell. You. Just go up here at any photo, will have that information for you. All right. Let's get on to the next part of the class. 28. Creating Your Redbubble Products: Okay, so once that loads, it will automatically take you to this page where it shows your hard work, your title, and then the description if you added one. And then this is where it's really fun. You can see what these look like on a person or they're fun to put on social media. And you can download these images right here by clicking the three dots below. And that way you can have, you can even let, yeah, you can share them on social. Look at liquid. You can say to your friends, look what I just made. There'll be surprised if they want to order it. Let's see few product page that gives you more details of how it looks. And as an artist, of course, you're gonna get a discount to. So it'll show a line dress and then it shows it in my other designs as well. But what's really fun is just to look at these pictures. The way that they're going to show you, the sea, the pillow. I liked the way they display the pillows. There's the throw blanket here, the pillows. Well, that's a pretty long but I liked the throat, the throw pillow. Maybe they changed it here. Yeah. So if you Okay. That's where that's what I was trying to remember. Where you see the rest of the images. If you click download images, right there, isn't that same three dot. It'll give you the close-up, which isn't it? Beautiful, and I don't know how they do this. I mean, I know how to do mock-ups, but to me is to take this pattern and automatically put it on these things like this is just crazy. So this gives you an idea. You need to look through and say, Oh my gosh, I want this, I want that. Red mobile has sales. Pretty often. They're actually having one this week, but obviously we'll pass by the time this class goes live. But just once you're on their email list, you'll get an email and the things that you make and it makes great guest. You can you can order things for your family and friends at Christmas and so forth. It's just fun. And I have not found the quality pretty good. I have the phone case, I have the makeup pouches. I mentioned the yoga leggings, scarves, mouse pad. I think I've tried my my I got my mom's and mugs these mugs here. And I've gotten the, the, I've gotten this travel coffee mug in different designs. So anyway, once you, once you you just go to, whoops, not here. Thank you. Just I'm just going to show you how you go to your shop. Yeah, here's your shop with you. It'll just have the one design in it so far. This one. And then you can select what you want. It was a little confusing because it'll pick one product, but all you have to do is go down and say, also available on view this design on 67 products, then you can decide what you want. I've been thinking about this laptop sleeve, but you'll see that you're gonna get a discount. I think you get a discount for signing up, being a new artists, but also anytime you buy anything, since it's your design, you don't pay full price. So anyway, it's a lot of fun. And I can't wait to see your designs. We'll talk more about that in the last video because I want to see them. Okay, happy creating. 29. Unboxing the Product!: Alright, even though you've already seen the pouch, the glimpses of the pouch so that I ordered with our design. I wanted to show you how it comes in from Red bubble comes usually a red type of package. It came I think it was less than a week, maybe a week from when I'm in Florida. But from when I ordered two when I received it and it's lovely. Probably use it for a makeup bag, although it could be fun for travel art supplies. But look at it next to the man that look amazing. They do a great job. And I just love this experience because when you have something that you've created and you're using it like this and you're seeing it in your life, whether it's a scarf that you're wearing or a dress or because now I'm thinking I might want to order the dress or I don't know, some notebooks. I'm not sure. But anyway, the point is that you then you have all of the memories that went along with creating it. The time that you kinda persevered through the white flower like we did or I'm just the memories of how you cleaned it up and how you put a little bit of paint on that flower. And just, it just adds so much richness to the experience of creating. I feel like I'm putting it on the wall is beautiful too, of course, but this is just a reminder of how fantastic you are. So please keep going. Make sure you create your design and get a product made so that you can have that feeling of yeah, I did it. 30. Wrap Up and Resources: I'm so glad you joined me in this class and I'm looking forward to seeing what you create. I have lots of resources and inspiration for you in my e-mail newsletter that I tried to do once a week or so. And you can subscribe to that Suzanne our.com. And I have a large student Facebook group. I think it's about 13,000 right now. It's a very loving and supportive and not judgmental. And if you wanted to invite, just email me at art at Suzanne allen.com and I'll get an invite sent to you. I also have a YouTube channel that I'm pretty good about posting paint and chats on land, I go live. And of course I have many other online classes. If you liked this class, you may like my other floral classes where we work on bouquets and florals for wall art. And in this sketch book, please keep creating. It's good for your soul and that's good for you and for the world. See you in the next class.