Graintouch: Create Print-Inspired iPad Art

1. Intro: You ever feel like the drawing apps that we have are just too complex? There's just an overwhelming amount of tools and options and settings. Have you ever wanted something light and playful instead? Well, in this course, I'm going to show you a delightful iPad app. It simulates the texture and grain and gradients and misalignment you get when printing in real life. Think risograph or screen printing. It's got minimal tools, minimal UI, minimal colors. But because of these constraints, it allows our creativity to flourish. Seriously, it's beautiful. And it allows you to create these beautiful, grainy, textured, printy looking digital illustrations. The iPad app is called grain touch. And in this course, I'm going to tag you through all the tools and settings, how beautifully layers interact with each other. How to make your illustrations look super printy and handmade, how to access the SVG files behind the art in the app and a bunch of examples, tips, and tricks. My name is Rich Armstrong, and I'm an artist who loves making digital art that feels handmade and analog. So if you want to have some fun and create some textured gritty, grainy, printy looking art, then come take this course. 2. Download Graintouch: Hey, welcome to this class. In this video. What I'm going to do is show you how to download Graintouch from the app store on your iPad. So if you've already done that, you can skip this lesson. If you haven't done that, then stay tuned. We're going to get into it. So if you don't have Graintouch already, let's go to the app store. Let's search for it. So gain touch. You got to spell it correctly, of course, Graintouch. There we go. It's this one, the one that looks textured and pretty and lovely and beautiful. Tap on that. If you've already got it, it'll say open. If you don't, you'll be prompted to buy or reinstall it. And what I like to do is just put it in my dock next to the Loom icon or the Loom app. And Loom is an amazing iPad animation app built by the same people that built Graintouch Arama Studio. Now, let's open up this one, Graintouch. There we go. And that's all you need to do to get it installed and to open it. 3. Graintouch Basics: In this lesson, I'm going to take you through the basics of using Graintouch. You'll notice that Graintouch has a lot of constraints or not a lot of tools and not a lot of colors. And I love this. It sparks creativity. It makes us, you know, think outside of the box. It's playful. There's not just, like, endless amounts of overwhelming options. So I love it. But sometimes it's like, Oh, how do I do this? It's not like a usual interface. So I'm just going to cover the basics. You can refer to this lesson as you go through the class and yeah, let's have some fun. Okay, so this is the Graintouch homepage. Let's tap on this button at the top left to create a new document. There we go. If you want to rename your documents, you don't have to. But if you do, tap on this little gray bar and you can type in New dark or whatever you want, press Return. Same thing here. Hey there, return. You just tap on a document and then tap on it again once it's got a bit bigger. And this is your interface. It is beautifully simple. Now, this is our layer. It is green. Now, if you hold down on it, you'll see a couple of things pop up. These are all of the colors for your layer. So maybe let's start with a little bit of blue. And you'll see you've got two tools here. You've got your draw tool and you've got your arrays tool. And in each one, you've got three different settings. So this one is selected, so I'm going to hold down anywhere on the document or the canvas. And you'll see you've got monoline, you've got pressure sensitivity, and you've got film mode. You've also got your thickness or your brush thickness over here. So what we've got here is pressure sensitivity. Let's have a look at what that looks like. Hmm. Okay. Now, you could hold down anywhere, but what I prefer to do is actually just hold down on the tool. It makes a lot more sense to me. Let's pump up the size of the brush. And you can see that Ooh, we're getting some lovely texture here, and it's pressure sensitive. Fantastic. Next, we've got the monoline tool or the setting for our draw tool. And it's probably my favorite way to draw or to doodle, just like that. And then finally, we've got the film mode. This is so cool. So you just fill a shape like that. Oof. There we go. Now, this is your erased tool, so just tap on that and you can select anywhere on the page to then change the settings of your erased tool, which is different to the settings on your draw tool. So here we've got our fill mode, and here we've got our pressure sensitive mode. And here we can just erase and erase and erase. And, hey, if you wanted to erase the whole thing, you can just like that, which is pretty cool. So that is some of your layer settings. You can also adjust the density over here. So if you then, we're still on an arrays. If you go back to your draw mode, you'll see that it's not quite opacity, but it's like it gets, like, less dense. You can get quite a nice, little dotty texture here or go for quite a nice full texture. But it is quite textured, like a little bit of gradients. It feels like it's printed, which is just amazing. Now, your paper. How do we change the color of that? You've got these little three splges here, hold down on that, and you can change the paper color. Not so many paper colors over here. But I like this paper color the most, so it's probably the one I'm going to use for the rest of the class. But if you want to change it, yeah, go for it. You can also put a grid on. I don't normally like this, so I turn it off, and I'll get to what that does in a later video. Oh, you can also scale all the layers, and I'll get on to layers in the next video, but you can just pinch and pull, and it scales all the layers. Right now, it's just one layer. You can also undo and redo or tap two fingers. I thought that you could tap three fingers, but that actually doesn't work, so you'll just have to undo. But beware here. So if you scale and you undo, it's not going to undo or redo any scale or scaling that you do. So just beware. Also, if you change the color of your layer, it's going to change everything on that layer. And so if you undo or redo, hey, it's actually not going to undo the change of color of your layer. So beware. Now, how do we get back home? Well, you just tap on this little home icon. There we go. And there's a couple of settings that you can check out. So if you've got a stylus or an Apple pencil, you've got this setting enable. You can also select to draw with your hand. And if you are left handed, you can select this left hand option. I'm going to tap on this one, so it selects my stylus or my Apple Pencil. If you've got an author remote, which I don't, you can also select that and play with that. Alright, let's go in here, and this is the left hand interface. You'll see that the color is over here. You've got your layers over here, and then the home button is on the left now. So, there we go. And that is the basics of grain touch. Amazing. 4. Ink Layers: In this lesson, I'm going to tell you all about Graintouch layers or ink layers and how they interact with each other, what settings you can change and use to, you know, make some really cool artwork and illustrations. And I think this is probably the most exciting and most important part of Graintouch is how these layers work. Let's get into it. So let's create a new document and go into it. I've got a green colored layer, which is great. My tool, I'm going to go for a full tool. And I'm going to create this bobby kind of shape. So it's got some nice print texture already. What I want to do now is add a new layer. So, hold down on these three sploges and I tap on that plus icon over there. Then to choose a layer to work on, I just tap on it and it slides to the right. Then I can change the color. So I'm going to go for a pink, which is great. And I'll draw on top of it. Now, I can pinch and pull, rotate, reposition and reposition scales. It does everything to all of the layers. If I just want to reposition and scale this particular layer, I hold down on the layer, and I reposition it. Or scale it. There we go. Fantastic. Now, you might be like, Okay, what else can we do here? Well, I'm going to just take that off and scale this back a little bit. Hold down on this. You will see that this one has a nice little knockout icon. The one at the bottom does not because it's the bottom layer. So let's go for this one. Let's turn that on. And what this does is it knocks out all the ink beneath it, which is pretty cool. So if we change the density of this particular layer, I could say opacity, but it's really density because it's printing with these little dots. And so here it's like low opacity, but it's really like lit little little it little dots. If I reduce this all the way, hey, it kind of looks like there's this cutout shape. And so if I scale this and move this about, you'll see that it's dynamic, which is pretty cool. So let's go back here. Pop up the density again. So that's the knockout effect. It's pretty cool. If we take that off, it again, looks like it's been printed on top of this green ink already there. Okay. This little guy is your gradient tool for this particular layer. Right now it's on solid, but we've got a linear gradient, we've got a radio gradient, an inverse radio gradient, and this splogy kind of gradient. So I'm going to turn on the knockout tool to show you what these are. You'll notice that once you've turned your gradient on, there are these two tools that pop up over here. This means that you can rotate, scale, reposition, either your layer or the gradient itself. If we tap on that, you'll see that I can do that to my layer. If I tap on this one on the right, you'll see that I can affect the gradient inside of the layer. Turn on knockout or turn it off and it changes things quite nicely. Want to keep it on, so I can show you the gradients. So something like that looks pretty cool. Radio Inverse radio. Oop. Sometimes that does happen, kind of feels like you didn't undo. Just tap on redo and you're back in business. And this is like a splogy one. Kind of reminds me of a zine. I really like it. It's great. Okay. So let's go back to this cool linear gradient. There we go. What I like to do now is duplicate this layer and have a gradient between two colors. So I can tap on this one, hold it down, and then swipe it to the right. And you'll see that this is also a symbol of a knockout effect. So if I take this knockout effect off, it's just on the top one. Huh. Pretty cool. Yeah. So let's put that on. This one, I'm going to take it off, and then I'm going to change this to a yellow color. And then I've got this tool selected. There we go. There's a little bit of white in the middle, so I'm going to go back to my pink layer and I'm going to select just flat. All right. So if I take the narco off, there we go. Okay, so that looks pretty cool. Now, what else can I do with layers? Well, if I wanted to delete them, I just hold down this little button, the bottom left and drag it into that cross button and alla It's gone. I can also undo that. And I can also rearrange my layers quite easily. Let's change it like that. I'm not quite sure what this is, or I'm changing the actual texture or the gradient. There we go. Okay. So that is how you use layers inside of grain touch. They're awesome. 5. Layer Misregistration: In this lesson, what I'm going to show you is how to simulate misregistration when printing or misalignment when printing. Like, how this would work in real life is if you're screen printing and you do one layer, and then the next time you do the next set of ink or the next layer, your little screen just like shifts slightly to the left or the right, or the paper shifts to the left or up or down, and you print it, and there's this, like, white gap or the ink is slightly to the top or to the right or something. Sometimes you see this on packaging or in newspapers, as well. So I'm going to show you how to do this grain touch. Create a new document, tap on that one. I'm going to change it to a blue, and then change my tool to the fill tool and create a little gin bottle. There we go. I'm going to create a duplicate of that layer, change it to pink, pop on a gradient, and then make sure I'm going to change the gradients. There we go. I'm going to add a new layer, make it a yellow layer, and then draw a nice little label on it like so, and then duplicate that layer. You can do it. There we go. And then let's go for a pink there too. Let's go for a gradient. Okay. Nope, don't do it all. Something like that looks pretty cool. Then a new layer. And let's go for black here. Change it to a monoline tool, and I'll call it Rich's gin. I know super original. There we go, and then make it just a little bit smaller and then use the knockout effect for something like that, and then do a couple little lines here to replicate the bottle top or cap or something like that. Okay, so like a really simple illustration. But now if we're going to do some screen printing, if we're going to simulate this like misregistration or misalignment of layers, how do we do that? Well, we tap on these three little spludges over here, and there's this miss registration button here. You just tap that, and you can see that things start to get misregistered. But, but if you're like, Yeah, but it doesn't change that much. Just like zoom out a little bit. Let's try it again. Maybe tap on this button, which is like your randomized seed button. It's like, Let's randomize things. Boop. Boop, boop. And you see the pretty cool effects here. That's pretty cool. I like that. And what you'll see here is that if you zoom out and you press this Princed button, then the misregistration will be bigger. So if you want big misregistration, zoom out, press that button, and then zoom back in. If you want, like, slight misalignment, then zoom all the way in, press that Prinsed button, and then zoom back out again. Depends what you want. Just keep on going here until you find something that you're happy with. Yeah, that's pretty cool. Like that. And as you're pressing this button, what's also changing is your paper texture and all of the other textures in your documents. It's like the big random paper generating print button. It's awesome. And so, yeah, that's pretty much how you do miss registration in grain touch. If you want to go back and, you know, work when things are aligned, you just tap that button and to misalign things again, you tap it again. 6. Graintouch 1.1: Okay. Grain Touch has just released version 1.1, which means there are some new things that I want to take you through. Also, some things have changed. And if you're like, I'm following this video and I'm confused, yeah, you probably are. So I'm going to show you all the new things and the things that have changed. Okay, so inside of Grain Touch, I'm going to add a new document. Let's go into it. And here, you'll see that, Ooh, there's a nice little something has changed there. Yes, if you hold down on screen or if you hold down on the tool, you can then change between your tools here, between your eraser and your pencil. So the selected one now has a little squidgy or whatever tool you're using. So the monoline one is there, the full one is over there. Okay, so let's go for the monoline, okay? I've got blue selected, and here you'd be like, Okay, but now, how do I change the thickness? Where is that? Well, it's over here, and the way that you change your thickness is just with a finger on screen, and you go up and you go down and it changes the thickness or the width of your brush. Pop, pop, pop, pop pop. Go down. Go down. It's really small. Okay. So that is one change, and unless you know what you're looking for, you're like, I have no idea what's going on. This is crazy. The next thing I want to show you is the inverse fill feature. So if we go to our fill shape and we create a nice fill over here. You tap down on your layer, you change your fill type. So there we go, make sure that you're adjusting your fill or your gradient. So, and then you can tap on this invert button, which then inverts the gradient or inverts the fill type. The next one that I want to show you is a new fill type or a new gradient type. So if you tap on or hold down on a layer, let's go all the way to the bottom, and you can select an image to fill your shape with. So just tap on that. And then it takes a little bit of time sometimes, and I think you have to take your finger off of the layer. So tap on that. There we go. And then you select an image. So I'll just go for this one. And there it is. And I'm going to hold down on this, make sure I'm on the texture or the fill. And then you can adjust. And it automatically tiles, which is really, really cool. We go and you can also invert it. So yeah, I think that's a really cool feature that they've added. Looks really cool. And the fact that it's, you know, already, you know, like one color, mono color is really rad. I love this. Super cool. The next thing I'm going to show you are reference images, and you hold down on these three splges and you tap on this image button like so, and you got to unhold it or just release it, and it takes a little bit of time to come up. So let's go for this one. Oh, like, really big. Yeah. Now, to resize just the reference image, hold down on your three splges and then resize it cause if you don't hold down on that, you're going to be resizing everything. If you want to just resize your drawing, just hold down on that layer and resize it. And if you want to resize just your reference image, the three splges and resize that, you can change the opacity really easily. You can also tap that and then it's gone. Then to get it back again, you need to tap it again and release those three splges. There we go. The next thing that I want to show you is that you can undo and redo shape layer transformations and the fill or the texture of those shape layer transformations. So I'm going to draw a little cloud here. Great. And then I'm going to hold down on that layer and I'm going to increase the size. Now, when I undo, it's going to go back one step for the transformation. Previously, it would have just undone the creation of that shape layer, which is pretty cool. And then if I change the gradient, something like that, let's make sure I'm changing the gradient. There we go. If I undo that, redo that, it's also going to change the transformation of that gradient, which is great. Now, the final thing that I want to show you and I'm not the biggest fan of is the portrait mode, and maybe it's my iPad, maybe not. But you can now do portrait mode. Tada. But it's not really portrait mode. It's like landscape mode when your iPads portrait. So I'm hoping that this is my iPad, but I'd really like to see it go, you know, all the way to the top and all the way to the bottom for the interface to actually change. But yeah, maybe I'll keep you updated on this because I think this is a kind of weird, I don't know, bug, maybe on my iPad. But I'll be in touch with them. Alright, those are the grain touch 1.1 updates that I wanted to take you through. Hopefully you're not freaked out too much. Hopefully you're understanding where everything is now. You're stoked about the new things that have been added. And, of course, as new things come in, I'll update this course. Alright. Happy creating, and I'll see you soon. 7. Manage + Share Your Documents: In this lesson, I want to show you how to manage your files in Graintouch. So how to rename them, how to delete them, how to duplicate them, and how to share them as a PNG. Let's dive in. So it's quite easy to select a file to work with. If you want to go into it, you tap it. You know that already. If you want to create a new one, you just tap on that button. If you want to rename it, you tap on this gray bar at the button at the bottom. Let's go for bottle and either press Return or done. If you want to share it, you tap on this button over here, and it shares it as a PNG. In the next lesson, I'm going to show you how to access your SVG files, which are vector files. Now, here you can share it to Dropbox, any kind of cloud storage, save to files, airdrop it to your computer, whatever you want. Okay. Now to duplicate it, once you've got a file or a document selected, you just hold down or tap on this button, and it creates a duplicate. There we go. To delete it, you have to select it and then hold down until it deletes. You got to go all the way until it deletes. There we go. And once it's deleted, there is no going back. And there we go. That's how to manage your files or your documents in grain touch. 8. Access SVG files: In this lesson, I'm going to show you how to access an SVG version of your Graintouch files. Why this is important is because when you export a Graintouch image as a PNG, it's not the biggest file size. So if you wanted to print a massive poster or something like that, the quality just wouldn't be good enough. So what we can do is access that SVG file, which is a scalable vector graphic and take it into a vector app or program, something like Adobe Illustrator. From there, we can then scale it up as huge and as big as we want to. There is a caveat, which I'll cover a little bit later. But right now what's important is to rename your file that you want to access the SVG for. I'm going to go for Gin bottle, press done. Now, we need to open up our Fils app, so I can just swipe up and access it in my dock, but you might be like, I have no idea what it is. I didn't even know I had a Fils app. So go to your home screen, pull down and either tap on Files if it's there or search for Files. Boom. What you're going to do here is go and tap on on my iPad. It might be hidden under locations like that on my iPad, open up the grain touch folder, open up the masters folder, and you can see why naming it is important. Because if you didn't name it, there's a whole bunch of letters and numbers, and it's just like, Whoa, that's crazy. So, here it is, Jen Bottle. Now, hold down on this, and then you can either share it to your computer with AirDrop or Dropbox or something like that or hold down, and we're going to copy, which is over there. Copy it. I'm going to go to ICloud Drive next and then into Download and then hold down over here and paste. And this will come through on my computer, which means I can open it with Adobe Illustrator or other vector apps. Now, if I hold down on this, I can say get Info and you can see it's called Gin Bottle SVG. But if I open this, you might be like, Yeah, that does not look like anything like we've been working with. And that's because it doesn't have any of the grain touch gradients and textures and stuff like that. It's just the vector file. It's like tensil file. So you lose all of the grit and the grain and the texture that you have in grain touch, but what you gain is an SVG file that you can make really small, that you can make really big, that you can print. So it's really up to you what you want to work with. 9. More Background Colours: What I really like about Graintouch is its limitations and its constraints, like how few background colors there are. Now you might be like, Yeah, but I really want a certain background color. Well, you can make it. This can be your background color. So tap on this layer. Let's go for an orange kind of background color, and then make sure that you're on the fill tool, draw yourself a big rectangle, which is now your background. Then tap and hold on your layer and then just make that big. So now you have an orange textured background that you can also drop the density on. Also might be helpful to do that because yeah, you can't really see where your layer is. So drop it down a little bit until you're finished. Then let's add a new layer. Let's go for white and add a cloud in da da da, pop up the density. Let's add a new layer here, BP. Let's put in some thunder or some lightning rather. There we go, pop it underneath. Then let's pop up the density of your background layer, and there we go. You now have an orange background layer that works well with the stuff that you then print on all the other layers on top. 10. Mixing Colours: One of the other great constraints that Graintouch has is the amount of colors that you can choose from when it comes to layers. Now, you might be like, but I want a very specific color. Well, there's no way to choose a very specific color, but you can have some fun and mix two colors together or more to create a new color. So let's try this out. Let's go for a blue. Let's just go for a full too and create a bit of a rectangle here. So yeah, you've got this really nice kind of blue color. Let's add a new color. Let's go for pink and do the same over here. So here, bup bup, bup, bup, bup. There we go. So here you got pink, blue, and in the middle, you've got something different. And if you reduce the density, hey, you've actually got a little bit of a purple. That is really interesting because it's got some texture, and there's some blue dots and some pink dots. Yeah, it becomes very cool. And if we add a new layer here, maybe we go for yellow. What does yellow do to this? Let's just pop that out there. So yellow on white is pretty yellow, but now like, Oh, like what is actually happening here? There's a lot of things happening here. It's not just like one color. So maybe if you pump up the intensity, it's pretty yellow. If you drop it down, yeah, what is that? It's like a brown or something. Like, it becomes really interesting how you make these different colors. So, yeah, that's the constraint, and this is a workaround. It's very fun, and you can come up with some really interesting effects just by mixing two or more colors together. 11. Now It’s Your Turn: Okay, so you've learned a whole bunch of stuff about this awesome grain touch app, and now it's your chance to produce something, to illustrate, to design, to play, experiment, to engage in the constraints that this awesome app has given you. You can make a greeting card, a postcard, a poster, maybe just some kind of cool illustration, experiment, play, you know? On top of that, what I'm going to do is show you five start to finish examples. Sometimes I make mistakes. Sometimes I'm not really sure what's going on. It's all part of this natural process that I want to show to you. I'm not just like Pera making perfect stuff. I'm playing, I'm experimenting. And so I want you to do the same. And then if you're up for it, upload what you've created to the Skillshare Project Gallery. That means that I can give you some feedback. Other people can give you some feedback. We can drop some comments. We can see how awesome your illustration skills or we can say, Hey, why don't you try this? What about this? What about that? It's also a great way to get involved in the community. So, I'm looking forward to seeing what you create, and yeah, have a watch of my five videos, and then I'll see you in the conclusion. See there. 12. Example: Tomatoes Postcard: And. I'm going to do in this example is create a postcard or a poster, something like that to do with tomatoes. So maybe I went to the Mediterranean and I'm like, Oh, yeah, this is a great postcard, or I'm walking around and I want to create my own postcard. So maybe I'm in Italy or Greece or somewhere like that. Mediterranean tomatoes, postcards let's go. So let's go and create a new document and go for red. Gonna go for my fill tool. And then I'm going to create some pretty, like, random looking tomatoes. Some of them, I guess will be a little bit more regular. Just like, really fill up the space. Because really tasty tomatoes aren't necessarily the best looking ones. And, man, I have sampled some really, really good tomatoes in my life, especially from the Mediterranean. Okay. Something like that looks pretty good. I'm gonna add a new layer. Gonna make it green, probably that green. Yeah, I like it. Okay. That looks pretty cool already. Okay. Yeah. I really like that one. That one's great. Hmm. I feel like eating tomatoes right now. Okay. I guess what's important to note about working in grain touch is that you kind of need to have a bit of a plan. So what I want to do is put a gradient on this, but you can't really put a gradient on it and then keep on working the gradient only works if you duplicate a layer. Well, you could put a gradient just on this, but I want it to be a multi colored gradient. Yeah, so I think that looks pretty cool. Maybe not so much that one. So I go do it. Let's make this one a nice big leafy thing. Okay, that looks really cool. I like it. So I'm going to duplicate this layer. Make it into go for a bit of a pink. Yeah, that looks pretty cool. Maybe I should have a look at what this looks like. Yeah, that looks really cool. I like that a lot. Then my green, what I'm going to do is do a punch out, have a look at what that looks like. I think that looks pretty cool, or a knockout, should I say? Let's change the knockout off of that. Let's go for a lighter green and a gradient. Oops. Let's do that. Okay, so there's like a gradient that goes along, which is pretty cool. Zoom out a little bit. Yeah, I like that. I like that a lot. Now I want to add a little bit of misprints into it, or maybe even duplicate this again. So let's duplicate it again. Let's maybe go for a little bit of yellow. Sometimes there are yellow tomatoes. Yeah. Something like that. Yeah, that looks pretty cool. I like it. Epic. And then I want to put on some misprint. Yeah, so have a look at what that looks like. Oh, I also have an idea here. So I'm going to duplicate this. This one, I'm going to reduce the opacity or the density. Still got the knockout effect on. Can take out the knockout effect on this one. Can change just to black just to show that it is actually a knockout effect. See, it's got a little arrow there. Now, let's put this on. Yeah. And so here, yeah, it just puts this, like, little white, misprint area, misalignment on. So something like that looks really, really nice. Oof. I like that. What about this one hiding it? Yeah, that looks cool. Yeah. I like that a lot. Okay, epic. So that's an example of how to quickly create something that looks really nice, looks misaligned, misprinted. Fantastic. 13. Example: Abstract Poster: In this example, I want to create something that feels very handmade, abstract. Maybe like a kid has cut out a bunch of elements with some scissors and, you know, pasted them on paper, combine that with a graphic designer sense of color and layouts, maybe even a background for a graphic designers poster, something like that plus risograph printy texture kind of stuff. Let's get into it. Quite like this color. Orange is cool. I might go for a red, but drop the density down to be a little bit pink. So yeah, let's start with some orange and go for my fill. And what I love about the fill tool is making these clouds. You can make some really cool clouds. So I'll just do a couple here and there. And there's really no real way of doing this right or correct or perfectly. I'm just putting them where I want to put them. Yeah, it looks pretty cool. Then what I'm going to do is create a new layer and I'm going to go for a blue. Maybe this kind of a blue. Yeah. And then go to put in some shapes in between the clouds as if they were, like, balancing somehow on the shapes or in between the clouds. Something like that. Get this really nice, like balanced composition. Yeah, it feels really cool. There's balls or eggs balancing on the clouds. But also some squares and rectangles and stuff. Yeah, I really like that. Then I'm going to create a new layer, and let's make it a red one and drop the density down like so, and then create a bit of a background. Maybe like that. Maybe drop the density down even more. So something like that. Yeah, it looks pretty cool. I like that. Then we can maybe add some white pieces in here, too. So let's go for white. Yeah, let's bring up the density. It. Yeah. I like that. Maybe here what we can do as well is create some more, like, free flowing kind of shapes. So something like this. There we go. Let's erase this a little bit. So yeah, this feels very much like a 4-year-old or 4.5 year old's cut and paste school vibes. That's great. Mm. What do I do here again? It's a little bit confusing. But hey, that's okay. It's almost like I messed it up a bit, but, yeah, that's pretty cool. Let's go back to the blue, and let's draw. Is that working? I don't think so. I need to think a little bit harder about what I'm actually doing here. She. Is that what I'm doing? I don't think so. I think I need to go inside. I still looks pretty cool. Figuring it out here. Yeah. Maybe one more somewhere up here. Maybe this one I can get right. That one's pretty hard to get right. So maybe I'll do it like this. There we go. Yeah. I think that looks pretty cool. Perhaps the blue. I can create a little bit of a gradient. So let's duplicate you and then we'll pop on. Oh, yeah. Something like that. Make sure we're on this gradient, yeah. Yeah. I like that. Now I want to do it on the orange, too, maybe, or maybe reduce the density a little bit. Cool. Let's create a new one here or a duplicate. Go for a red. Mm. Yeah. Use. Scale that again. Yeah, that's great. Okay. And then maybe I will duplicate this one, too, and this layer underneath, I'll put on a knockout and just reduce the density all the way down so that it would look something like this. But let's put all those layers back on, and then let's do some print misregistration. There we go. Yeah, that looks cool. Is bottom layer, I want to make maybe a little bit smaller. In all about that size. Yeah, that looks pretty cool. If it was vertical, it might work out, too, but definitely landscape. I could work for a postcard, a greeting card, or, you know, like the background for a graphic design kind of poster. I like it. 14. Example: Cute Characters: In this example, I'm going to go full on cute characters, you know, with eyes, maybe like a children's book illustration, you know, maybe a start of a book, the book cover, something like that, or a poster for kids, something that's very fun and cute, full of character. And if you've taken any one of my classes before, if you know me, you know I love characters, cute. So yeah, let's get into that. So yeah, let's go for a green, maybe. And the full. Maybe not this green, this green is and I'm going to go for maybe like four, maybe five characters. And I'll just do the base colors first. Go for orange, maybe. Yeah. See how quick this is. This kind of reminds me of a carrot. That's pretty cool. Yeah, let's go for a new one. Maybe a pink. Cool. There we go. Maybe one more. This blue? Mm. Maybe a darker color. Red, maybe this blue. Yeah, looks pretty cool. Maybe we can give this guy some legs, as well. Hmm. Maybe they can all have some legs. Or some little feet or something. Yeah. Yeah, I like that. Cool. It looks great. Okay. New layer. Let's go for a white here. Let's do some eyes. Eyes over here, maybe for this guy. And then one more Black. Looks pretty sad. Okay. And then go for the monoline. Be like Yo Mm. Hmm. Looks bit weird. Something like that could be pretty cool. Maybe I'm gonna do some more arms or something, so I go back to the fill. Yeah. I guess I can give them all. So fingers. Yeah. Hello. This guy can have some shoes or feet or something, too. I guess he can have some ears. Yeah. Hm. Let's put both of them over here. Yeah, I like that. That's cool. Now, I wonder if I can duplicate all of these and give them all a bit of a knockout. Yeah. Reduce the identity, knockout. No. No, that's the maximum. Oh, well, let's see what that looks like. That looks pretty fun. I like that. Maybe we could add a little bit more black kind of happenings, ya. Yeah. I think I like that, maybe give this guy a bit of a beanie. Something like that. You can raise. Looks pretty cool. Yeah, let's put a bit of a gradient on. Yeah. Yeah, that looks cool. I like that. That's great. Could work as a poster or a greeting card or postcard, something like that, or even, like, a book cover. It could be really fun. 15. Example: Happy Birthday: Okay, so what I want to do in this example is to create kind of like a sun over here or perhaps on this side, saying, thank you. Or maybe we can say happy birthday in a bit of a speech bubble. I that'll be pretty cool. So I'm gonna create a new layer and just drop that away. Go for yellow. And let's go for a full. I'm not that good at drawing, like, complete, good, awesome circles. And we'll create a new layer. Then we go for purple, blue? Blue, blue, might be cool. Yeah, that could be cool. Very cool. Blue with yellow and white. Mm. I like that. Okay. So here, Something like that. And then on top of this, we've got yellow again for the letters. And I'm going to go for full letters because they're pretty cool. So it just looks far more like handmade. Pink. Br Br. I'll do some erasing tomorrow. Berth. Day Maybe I can even do that. Yeah. Looks cool. Something like that. Where is my yellow? Yeah. Okay, let's do some erasing. It's the same tool. Just like that. Alright. So that's pretty fun. I like that. Then on this guy, d d do. We've got full too. Here, we could be like same kind of colors. Mm. Let's go forward. Mmm. Yeah, so what I want is the eye to be there, 'cause that's how I like drawing my sons. So I guess what we can do is create a new layer and do it like that. So we can move it around. And then this happy birthday, I'm just going to create a new one over here. Let's go. Shoot. Sort of comes under. Okay. Pop this one. Away. Nope. The other one, this one away. Okay. There we go. Kind of looks weird, right? Okay, let's check that one, too, create a new one. Let's go for a Yeah. Okay. That looks great. I'm going to duplicate this writing. Make this one, knock out and no density. Okay. Then here, I'm going to add a couple of little rays, maybe a little bit bigger. Yeah. It feels like, you know, super fun, playful, almost like a kid's done it. Okay. Almost there. Very cool. Yeah, almost like you've, you know, cut these things out and then pasted them or laying them on the paper. Yeah. I like that. And then let's go and put some little eyebrows. Yeah, that's cool. Yeah. I like that. I like that a lot. And then maybe height. Let's put some teeth in here, too. Like a little Yeah, that's pretty cool. Okay. So we've got those two, and we've got this one. I think I'm going to duplicate this one, which is our son and give him a little bit of orange. Just a little bit. Okay. Something like that. Okay, now let's see what happens. When we miss line. Whoa, that's a lot. Okay. Yeah, I think that's pretty cool. I like it. I like it a lot. And maybe this guy, we can put a little gradients on him, too. Something like that. Alrighty. There we go. Happy birthday. 16. Example: Dancing Sheep: In this example, I want to create some sheep like hang fing sheep or dancing sheep, something like that, and I want them to be in motion, but I really want to create a new aesthetic. So I'm kind of like pioneering a new style or a new aesthetic that I can use in different projects or to convey information or ideas to reuse over and over. I'm going to try do it really simply so that that texture, that grain can really add to the simplicity of these sheep. And because it's so simple to do, it'll be quick to do in the future. So this is my first pass at that. Let's get into it. So I don't really have a blue background or the one that I want to use. So I'm going to start with this very light blue, and then I'm going to go for a dark blue layer, make sure I'm on the fill tool, and here create myself a bit of a background, just Whipsy, just zoom it in quite a bit, or scale it up, and then I'll create a new layer here. Go for white. And then what I'm going to do here is just put in, let's say, five sheep, doing different kinds of dances or something. I kind of looks like clouds now, which is kind of the point, very fluffy. There we go. And then they'll have a head maybe this one's head can be here. Yeah, da, dap dab dap. This one over here, this one over here. Cool. And then what I'll do is I'll make this layer black. I'll come back to the white layer in a bit, and then here, we can start putting in the neck of each other sheep. Hello. There we go. This is quite a small head. And then you can also put in the legs. So some of them might look like they're swimming or running, general dancing. I like that. That one's a little bit small, I think. There we go. U. Okay, so that's pretty fun. Go to go back to my white layer. Add a little bit of coolness, as if they're like pouches or pouches, poodles. Well manicured sheep. Yeah. Cool. Almost there. And then we need to add the faces of the sheep. Okay, let's go back to the Black air. Yeah. Okay. There we go. And that looks really, really nice. I'm going to duplicate this white layer, so it's a little bit less transparent and drop the density down a little bit. And then misalign everything also gives it a little bit of, like, a blurry, cloudy kind of a feel. Yeah, something like that looks pretty good. So I've used the background hack and yeah, just generated some kind of a sheep aesthetic that I can use over and over. I think it's pretty cool. 17. The End: Okay, this is the end of the course. I hope you've had fun. I hope you've learned a lot. I hope you've been challenged, and, like, your creativity has been gently massaged because of the constraints that Graintouch puts on us. And seriously, I would love to see what you've created. So either mention me on social media. I'm at Rich Armstrong, or you can upload it to your Skillshare gallery, and you can upload it to your Skillshare gallery. And that way, I can give you feedback. Other students can give you feedback. You can kind of show off as well and get involved in the community, which is always really cool. And then if you haven't already, please review this course. Seriously, it means a lot to even if it's negative feedback, it allows me to make my future courses even better. And then for students, it allows them to know whether they should or shouldn't take the course. And if you want more of me and your world, you can find me at richarmstrong.net. I have a whole bunch of courses and resources, and I also send a daily email that has a story in it, a lesson in it. Sometimes I'm talking about creativity, other times about productivity. Sometimes I'm just telling you some awesome stuff. Alright, that is truly it. For now, I will see you soon. Bye bye.