How to Draw Symmetrical Snowflake Patterns in Krita

1. Introduction to Drawing Snowflake Patterns: Hi, This is Stephanie O Brien, marketing coach and copywriter by day artist and storyteller. By night in this class, I'm going to teach you how to create beautiful, symmetrical snowflake patterns in Kreda like this one or this one, or this one the art program will be using. For this is called Kreda, which you can download for free by the link in the description. In the next video, you'll learn the basics of how to create symmetrical patterns. Credit provides a really easy way to make your patterns perfectly symmetrical, but it can be a bit confusing for first time users, so I'm going to walk you through it, step by step. In the third video, you'll learn how to use the brush I used for most of my patterns. This fresh is incredibly versatile, but that same versatility can also make it seem really unpredictable for people who are new to it. It behaves very differently for most digital brushes, which could make it a bit confusing. So I'm going to teach you how to get it to make the shapes and shades you wanted to. In the fourth video, you'll learn how to put the information from the first few videos together to create beautiful, intricate snowflake patterns, and in the fifth video will discuss creating backgrounds and frames for your symmetrical patterns to add some extra beauty and flair to the final product. And in the sixth video, all shares on ways for you to monetize your new skill If you so choose, you certainly aren't obligated to do this, but it gives you a way to earn some extra money and share your art with the wider audience . Once you've completed the class, please share you completed snowflake patterns in the class project or share links to them so we could all admire. You were now the 1st 3 people to complete a stuff like pattern Luca shadowed in my social media channels, along with a link to their main are channels. Please be sure to sign your works, that we all know which heart belongs to who That's it for this video. Please check out the next video as soon as possible so you can start beating beautiful, symmetrical patterns in Kreda 2. Using the Multibrush Tool to Create Symmetry: welcome back to how to create symmetrical snowflake patterns in Kreda. Today I'm going to teach you one of the foundational skills of drawing snowflake patterns in this program, the multi brush tool. Now is it distinct from the single brush tool and that the single brush just creates a single stroke, whereas the multi brush creates multiple strokes with every movement. Now, today I'm going to be using one of the simpler brushes. This isn't the brush I usually use for my snowflake patterns, but the one I usually uses very eccentric. It behaves very differently, depending on how you move it. So just to give you a feel for how the one multi brush tool works, I'm going to use this really simple one right here. So to start with, select the multi brush tool in the left hand side of the screen right here. After you do that, you need to choose the settings that you want for it. I like to use the stabilizer just to keep it smooth, and I also need to choose the mode. Now there are several different modes that you can use in the multi brush feature. One of them is symmetry. So I've selected six brushes, which reflects the number of dead rights or prongs on a snowflake. So here's what it looks like when you use the symmetry tool. As you can see, every movement I make with the primary brushes moving that is mirrored across several other fresh is. So right now I've got the main brush, plus five additional brushes, and every movement I make is copied. This is how I get my patterns to be exactly symmetrical. Another one is mirror. This is good, for if you're drawing stuff like, say, butterflies, you can see every movement I make is mirrored just once. Another is translate. I don't use this one much, but it could be good for stuff like, say, hair, where you just need a whole bunch of lines going in the same direction. And the one I use the most is not so surprisingly snowflake. Now what this one, every movement you make is mirrored to different ways. One thing it's mirrored on the opposite side of the stroke. As you can see, I made a stroke like this, and it's also mirrored on the opposite side, and both the original stroke and the mirrored version are also mirrored five other times, So you guys sticks different spokes or dendrites to use the scientific term. I hope I'm using rice now. If you just kind of scribble wildly and randomly, you can get some interesting intricate patterns, but it won't be a very clear and coherent snowflake. So what I usually like to do is take a little bit closer to the origin. So there are a couple of different way used to make a snowflake pattern. One is to use fairly tight, narrow spokes. Here's an example, because you can see with this one, and there are four. Just sorry. There are six distinct narrow spokes, so it's kind of Ah, sharper cleaner edged one. One way you can use to flesh out snowflakes like this is to add additional side spokes. But I do that. I like to kind of add additional layer, so you got a deal in the different layers. This kind of makes it easier to tinker with one set of spokes without affecting the other ones. Or if you have to erase something that you don't accidentally erase to spokesman, you're just trying to erase one so Here's an example of what it looks like after you had some additional ones in between, because you can see that kind of flushes it out while maintaining the very distinct spokes or dendrites on the snowflake. Another way to do this is to create wider, overlapping spoke sword and rights. Here's an example. As you can see, these kind of crossed into each other's territories, and they don't have the same level of intricacy and detail on the outside. So the's what you do is at all that intricacy and detail on the inside. This kind of makes for a softer, smoother raged, gentler looking snowflake with a lot of detailed advocacy on the inside. Now, if some people are going to want to keep the origin visible through the whole thing, others might find it a bit distracting. So you want to turn it on and off. You can find this little check box over in the right hand side and just turn it off or on again. Depending on whether you wanted to do at that exact moment, you could also rotate it. So, for example, if you want to do some drawing on the edges here and you need to know exactly where the corner is. You can rotate the origin so that it points in the direction you wanted to. Now, if you're using narrower spokes and you want to get it a little bit more fleshed out, but you don't want to have additional spokes going off the edges, here's another method you can use. So once you've drawn the odor edges of the danger rights, you could also just add delicate little patterns in between not quite distinct spokes, but just kind of, Ah, meth webbing or a mesh in between them. It's about what you don't have the other spikes on the snowflake, but you do have some detail, the flesh it out. This can, of course, make the main spokes a little, let last distinct. So whether that's a desirable or not depends on the effect you're going for. Okay, now you know how to use the multi brush tool on, you know, a few tips and tricks to use it for making a nice snowflake pattern. In the next class, I'm going to teach you how to use my favorite brush. Like I said before, it's a bit complicated, eccentric and for a first time user can be really confusing. But once you get the hang of it, it's really versatile, and it creates an absolutely gorgeous effects. So off for you in the next class. And in the meantime, I encourage you to download Kreda if you haven't already and to start experimenting with the multi brush tool. 3. How to Use My Favorite Brush - Updated With Brush Names: welcome back to how to draw symmetrical snowflake patterns in Kreda. Today we're going to learn how to use one of my favorite brushes to create a wide variety of shapes and effects so you can use for your snowflakes. So let's start by choosing the brush could find it in the brush selector right here. You can see it. It's usually found under digital. You find it usually on the bottom corner here. Now, after I created the original version of this tutorial, it was brought to my attention that I forgot to add the names of the brushes I use. I usually search for the brushes by thumbnail. So it didn't really occur to me that some people search my name. So for those of you who are frustrated because you couldn't find the brushes, I apologized. I'm gonna fix that right now. I'm gonna show you the names of the brushes. So for the main brush, we're gonna be using this tutorial. That's right here. That's Viv. Spread the seas. Underscore sketching. Dash one. Underscore. Crume underscore Thin. What's with the V in parentheses? I have no idea. Seems to be fairly common among credit brushes. Another one they used mostly for the little details. Is this one experimental webs. So experimental lives that isn't that great for print resolution stuff because it doesn't want to change size. That's what it looks like at one pic solely. Try and change the size and it snaps right back. So I don't use experimental webs that often. Another couple of them I use are stamp water seeds. See for NTC's Underscore stamp underscore water. So this is the one that used to ink a wave pattern, which I'll demonstrate a bit worrying the later for video in this tutorial, another one I uses stamp sparkles right here. So this is the one I use for the star effect. All right, had these into a lot of my backgrounds and another one I occasionally used. Not so much for a print resolution, but it just doesn't quite behaviors cleanly at that. Size is show Joe bubbles large. I'm saying that we're gonna That's the one I ended it so show Joe buckles large. So this 13 its troubles, as you can see. So those are a few of the brushes I commonly used in my snowflakes, but the one we're mostly going to be focusing on the one that I use the most is sketching chrome thin. So in this video, I'm going to be teaching you how to use sketching chrome Finn. And once again, I apologize for those of you who were frustrated and confused by the lack of the rush names . So I hope this clears it up and makes it easier for you to use the tutorial. So let's see how this brush works. If you're just doing a single straight stroke like this, doesn't really look like much if you just do a scribbled spider web but can see it kind of Dustin streaks in between. So the real magic of his brushes when you do a stroke and then in the same stroke, you pass it close to the original stroke. Do you see kind of makes a mesh pattern in between. I'm doing this at a fairly high resolution, but not as high as I normally dried, or it would take forever to mode. So the brushes here might look a little bit different than they do in my final product, saying that snowflakes I draw just cause of a different resolution so if I zoom in, you can see that it creates kind of a laser Debenham pattern here. This is incredibly versatile. I'm going to show you a few different ways. You can use this, so to start with, let's change the mode. Now I start so it to. On normal mode. Here's an example of what it looks like in that mode, but I usually uses screen. Here's an example of how much of a difference that makes, because you can see it creates a much brighter color, and it makes it a lot shiny. Er. So this is how I get effect in my snowflakes thing. This is a great example, but you see how some parts here are whole lot shiny er than they are in this other one. In this pattern, I you needed all mostly a normal load so you can see that it's kind of a dollar flight or color. I've seen it compared to chalk chalk drawing on the sidewalk. So compare it to thistle, and you can see how it's called a lot more of fire and light and shiny Nissen it. So usually I use screen mode. That's an example of the one of the most basic strokes. Simple double stroke. I use that for a lot of ribbon effects. For example, this snowflake right here that's getting in the way. This snowflake right here uses a lot of ribbons. So you can my notice that some of these ribbons are different colors now. This isn't actually because I chose different colors in the color selector. It's actually from a different effect that I used in Kreda. We're here. You can see the brush stabilizer. I think it demonstrated that in an early video, one thing I didn't realize until recently was changing. The delay actually changed how the brush behaves, so let's just increase the delay. Let's look at how it looks, so you can see it's nowhere nearest thick Amash a lot finer that a lot more white space. So that's one way you can bury the shade in the coloring and the texture of your strokes decrease. It's almost down to zero just down into single digits, and you get a much thicker stroke. Didn't see that these are quite similar strokes, but very different, depending on how much of a delay you put in the stabilizer. I'm gonna bring that back into the twenties, see how that looks. Okay, So I should give us some room to play. So let's get rid of all this so we can make more of a demonstration. They want to show you a few different ways. You can use this brush. I just showed you the basic double stroke. Now let's look at the triple stroke a couple of different ways. You can use this. For example. You can make those shaped kind of like a peacock feather saying me that a little too narrow . If you make it wide enough at the end that it doesn't quite connect and fill in, Then you come back to the end. You can see how it kind of makes the variation in shades brighter here, and there's a bit of a hollow there. I used that effect in this snowflake right here. You can kind of see the yellow peacock feather shaped things over here. That's one of the effects you can make with this brush. Another is something kind of more like a flower petal, actually using it to create a garden themed drawing. Right now, I'm not going to show you that one, though, because it's so big that it would take forever to load. I was gonna demonstrate right here. What said it Let go In mid stroke. My pens been malfunctioning lately. So let's just try this with the most. As you can see and going over this three times, you feel it in right up till the end. It creates kind of more of, ah, flower petal relief pattern got conveying in the middle. I did it a little bit too wide. It created those edges there. If you wanted to fill in completely, you need to do it a little bit narrower. Ah, a lot narrower, just trying, making it a little bit bigger. But, hey, even while I'm clutching out, it's still giving you a demonstration of how the brush works at different sizes. Was he didn't see? It kind of makes a line wherever the cursor goes. You see this line in the middle that creates that initial line over here on national line there. And then after I re stroked in the middle, it created 1/3 line. I don't usually go above three strokes, but first a quick example. Let's see what happens when I dio so first stroke, second stroke, third stroke, fourth stroke, you see is still kind of making online. And with each pass, it's becoming shiny. Er, it's kind what screen mode does every time you pass over it again, it makes it brighter. It's not just vertical. You can kind of go in spiral patterns make it brighter and brighter in the middle. What kind of looks like a sort of, well, kinda like a jump stone, but with a bit of a spider web pattern on it. So there are a lot of different effects that you can use this for. So another effect I use sometimes uses to fill it. Large pedals like save. I make a big petal shapes dendrite on my snowflake. They can use this to kind of fill it out a bit. You might notice that you do this, affect him some of my snowflake patterns like, for example, forest fire flake. You see this shape right here? It looks a bit different at a higher resolution. I drew this in 8000 by 8000 pixels, so that does make it look a bit different. But you can see how it kind of makes a draped fabric effect right there. The one thing this brush is not that great for his zigzags. Let's look at what happens if I tried to seek sag. It just kind of fills out this exact. So instead of being in a zigzag pattern, get exact pattern with a whole bunch of stuff in between. Find it if that's what you're going for. Great. But if you're trying not to fill in the edges of this, exactly, just be aware that you're probably going to have to use a smaller brush in order to do that . Any time The brush strokes are close enough or any part time part of the brush structure close enough that it can fill it in, it will fill it in. That's just the nature of the brush. You see. It's filling in just the edges here, but not the whole thing, because over here it's too far away to fill in. But here is close enough to connect, and another effect I like to do. I've been doing this in the gardens themes drawing I've been doing lately is kind of pollen effect. Or of Lily. Maybe try doing it in yellow. Make it a bit easier to see, You see, kind of filled the edges a bit more cause I went over these more. Where is this? Instead of being at the center of the brush, this just got over once with the filling part. The parts of the stroke precursor of has is directly over will generally be more intensely colored than the parts in between. Except for that one dark line in the middle course, you go over it repeatedly, in which case it's just going to get brighter and brighter with each repetition. So now you know how to use my favorite brush as usual with ease. I encourage you to do some experimenting of your own. Get a feel for it, see what shapes you can come up with. You actually come up with a huge variety of shapes. There is an example of one where I made a whole lot of shapes. Just with this brush. Come on, hurry up, Mode. Here we go. So here is an example of the ridiculous number of shapes you can make with this brush. You see, over here you've got some of the peacock patterns. Some of the kind of drape fabric effect, some of the ribbon effect. So this is a good example of the ridiculous number of different shapes and shades and effects you can make with just this one brush. So go ahead and do some experimenting with that. And I look forward to going you the next video where we put it all together to make an actual snowflake pattern. I'll see you in the next video. 4. How to Create Different Snowflake Shapes: Welcome back to hell. Draw symmetrical snowflake patterns and Kreda. In the last few lessons, you learned how to use the multi brush tool to make symmetrical patterns and how to use my favorite brush to create a variety of shapes and effects. So today we're going to put those skills together to create a snowflake pattern. Now you can see I'm starting out with a black background here. Personally, I like to have darker backgrounds just cause I find the foreground. Colors tend to stand out better against, um, so we've got the multi brush tool selected to got my favorite brush Selectees got it said to screen and this attitude 88 pixels, cause I'm using a bit of a bigger canvas this time because I'm used to working with big canvases, and I find it tends to look better that way. Okay, so personally, I like to start kind of near the top in the dead center, right like this. Let's start with a fairly basic, narrower spoke snowflake conceded this first time brush. It's fairly narrow, not really feeling in that much. Well, let's see what happens when I go down the middle here, feels it in nicely there, a few spots where it was too wide to fill in. I just I like the have still got like that cause they actually give the chance to add some additional detail and color in there. For example, let's look at each other of the Russians I sometimes use to screen speaking, so you can just take little gaps like this and fill them in with a mother patterns of innovative variety and interest. What if you don't like it like that? You can just start from scratch. Use the time honored digital largest tradition of using control Z and feeling in a different way. So let's try that to see what it looks like, a slightly different way filling it in. So if, instead of going down a dead center, we stick a little bit closer to the edge. Here is what it looks like instead, and of course, you not even further visual interest by going down dead center. And that creates a kind, different way of filling it in with them. Kind of a empty, your darker center and more thoroughly fielding edges. So there's a few different ways to create those initial spokes in suits, that kind of stuff to empty space in the centre. But he that just leaves more area to experiment in, play in so you can go ahead and experiment with the different shapes can create in there. You make some side spokes. Yes. Sometimes when I make the snowflakes, I have a plan for what I want to do. Going in. Sometimes I just experiments. Just let it evolve in they go. Oops. Now I'm just a little classic mistaking here You can see how some of the snowflakes overlapped the edges. That's something to watch out for cause when you're doing it down the diagonal, you have a bit more room. But when you're doing it horizontal or straight vertical, you have a little bit less room. So you want to keep an eye out. Make sure it doesn't overlap the edges here, so I screwed up a little bit there. But it makes for good teaching point. Well, feel free to experiment with other brushes. It's one of the ones I often use, especially at higher resolution. It doesn't work quite as well of this resolution, you know, maybe lower the opacity of it. It was a little bit overbearing when it was at full of Pacenti. You can see it adds a bit of shape and variety in the center there, or you can use it for a kind of delicate lacing on the outside. Oh, another of my favorite brushes. Go back to my favorites. Is this one that creates a kind of star effect, said the little bit too big. You can just draw lines of stars where you can just kind of scatter stars all over the place depends on the effects you're going for. Here's another brush you can use. So now this one I edited a little bit to just make it bigger than it originally was. Oops, that's when the end. Too much bigger. I used to drawing at 16,000 pixels. That's what creates a series of rings. Now you can see if a little bit resistant to the usual methods of changing its size. So for this one, you're gonna have to select the brush settings. You just click on the picture of the brush. There we go. Brush tip diameter. You can see I said it three big, so you can't just change the size. Normally, you actually go have to go into the brush settings hit, brushed hip and hit diameter. So let's try and making you a little bit smaller. There we go, right there's another one you can use to kind of at a different effects to your snowflakes she wanted. Maybe just make pretty Lacey outline. Now. Another effect you can use is to use slightly different colors for the different spokes. I don't tend to make them super different, but you doing a little bit of experimenting. Having slightly altered Hughes Cankaya tides and visual interests and variety, let's try a bit of a brighter hue here. It looks like the smaller brushes pre are completely negating the changing hue. So another thing to keep in mind the size of your brush will kind of influence. This, for example. Let's make this rush a lot bigger now. As you can see, it gets a whole lot brighter when the brush is bigger, because there are you with the bigger brush. There are a lot more lines being drawn in between, so all those lions overlapping each other on screen mode creates a much brighter effect. Of course, there's the do a youth creek, I mentioned in another video. Make a bigger delay and you get a much thinner. We've okay, great kind of a scratch here. More spider Web effect. And of course, another way to do this is by using whiter spokes. So let's go through this stuff and trying a whiter spoke once again, starting at the top of the center and making a nice, big wide stroke. So if this size, you're not gonna get much traction by going down the middle. So let's go down the edges when that give you a lot of room in the centre to experiments to fill it out to add whatever you want. Here's what I favorite shapes to use to fill these out kind of a moderate delay. I think these kind of create a nice contrast with this movie outer edges thing from there. Just add whatever looks right. Chances are you'll follow the grand tradition of digital artists everywhere in my copious use of control Z, and that's perfectly fine experiment. Have fun. She just put in whatever feels right, whatever looks right. This is where you get to push play around. But for these interior details. I like kind of use of smaller brush fit, more maneuverable, and it just allows you to create more shapes in there without filling it up instantly. I just I might be a little bit too small. Maybe maybe the lay of it shorter. There we go. He even I you need to use controls the sometimes. I've been doing this for a while, and even I sometimes just have strokes that don't quite feel right or decide to have a better idea. Or sometimes my hand just slips. No, If you happen to make a move you don't like, don't beat yourself up about it. If you haven't 20 moves you don't like, don't beat yourself up about it. Just play. Have fun Experiments. Don't expect perfection right away. Just go with whatever looks and feels right, so those are a few tips and tricks for drawing snowflakes in Kreda. If you have any questions or if there's anything else you want to know, please feel free to ask. In the next video, I'm going to talk about how to add backgrounds, frames and other flourishes to just add some variety and effect and flair to your snowflakes. and in the video. After that, I'm going to talk about how to monetize your art if you need an additional income stream or if you just want to have an additional income stream, or if you would just want another way to expose your art to a wider audience. So feel free to experiment with the combination of multi brushing my favorite brush. See what other brushes you enjoying. Kreda and I will see you in the next video. 5. Adding Backgrounds and Decorations: welcome back to how to draw symmetrical snowflake patterns in Kreda Today we're going to talk about how to add backgrounds to your snowflakes. Adds more beauty, detail and flair. No, I'm not sure what kind of background I'm going to go with. I usually just start with the plain black background, like this one right here or with a black to blue background like this one. It tends to be fairly safe. Easy way to start once your colors stand out nicely against it and you can always tweak it later. I strongly suggest having the background layer and the foreground later on separate layers just so you can play with the background more easily without messing with the snowflake. Other times I have a theme in mind when I start to create the Snowflake Harrison examples. Now what? This one. It was inspired by the sight of dark bare trees against the early predawn sky. Yes, I have a terrible sleep cycle. I was actually not waking up a gun. I was going to bed. I'm terrible that way. But I was looking out at the trees that I should not have been seeing before going to bed. and thinking just how beautiful they were, so that kind inspired this. It resulted in a predawn sky with kind of scattered stars, Dark black snowflake and another example Is this one once again inspired by stark bare trees? Can you tell I'm a Canadian? Receive those a lot? This one was more straight up snow. Instead of just a silhouette of snow, the dark, stormy skies and the bare trees in the background, this one was inspired by dawn. Now it was one of those ones where I deviated from the really dark background just because it fit with the theme I was going for. And this was inspired by sunsets. If you have a theme in mind, I can really help the guide your color choices of the different shapes that you add to your snowflake, whether you make it a nice soft shape or UM, or intricate shape or a jagged shape. That's one way to kind of guide your decisions and decide what you want for your background . Other times, you'll find that the background he follows with the snowflake Here's an example of that happening. So this one, this is actually the first snowflake pattern I ever did that it was just a symmetrical pattern. This one was inspired by the movie frozen. That's what got me into drawing snowflakes. I knew that I wanted to have a snowflake. The rest I just kind of figured out. As I went along, I ended up deciding that kind of snowy images in the background, not quite snowflakes would just kind of softer, whiter shapes. I was thinking about possibly adding snow clouds around the edges, but in the end I went with the Aurora because it was kind of an ongoing theme and frozen skies awake. So I'm awake, so we have to play. So sometimes as the snowflake Ozio end up adding more details. Just cause of snowflake inspires somewhere. Just they just look right with the snowflake. Here's another example. This one started out as just a yellow snowflake on a green background, and then I started to think how it looked like a forest fire. So I did the dabbling in the background to kind of resemble leaves, and they added the trunks to resemble trees. The sparks were actually Mom's idea. Sometimes you will find yourself just adding additional details just cause they fit the theme, even if they're not actually part of the background. Just kind of additional foreground idea is just cause you like them. Another example is this one. This one had a very soft flowing theme. I went to keep preached the whole thing very soft and delicate and gentle, and you seem to go well with water, actually had the water idea when I first out of the Grady, and he may notice that up near the top, it's later, and down near the bottom is darker. It looked like descending into an ocean, where it's lighter at the surface and darker down further from the sun. That gave me the idea to make it water themed. So those are some of the examples of how you can kind of pick up inspiration as you go while you're creating your snowflake and deciding on what kind of background you want, the sometimes the background, I'll just be background patterns and decorations. Other times, you'll have more foreground details like in this snowflake. You'll see I have these additional shape so far at the corners, kind of in between the spokes. So that's another example of ways that You can add some additional interest in flare in detail into your snowflake patterns, and sometimes you'll start out with an idea of what you want. But it'll involves. You go. This is the example of a snowflake where that happened. I knew I wanted to have a spiral pattern, but it just didn't look right is just a spiral. So I ended up adding, All of these jagged suite please here just and that's how you know it's Jacqueline. Squeak leads to this elegant, beautiful design. Just don't make it a bit more interesting. INGE dynamic. And they also had the stars. They were kind of an afterthought, but I just felt close missing something in the stars. I haven't I find myself adding stars when I feel like something's missing stars on the new black. They go with everything. Maybe not everything but a heck of a lot of things. So let's explore a couple techniques you can use to create the backgrounds of your snowflakes. Let's go to the demo picture. Now You may notice what this one I kind of screwed up. I made the background and the snowflake on the same layer. Whoops, but we can just use the space around it to demonstrate some techniques. No, this brush, it would go to show you. You can find it under textures. The stamp right here with the jagged lines. This quick water effect, you may recall on one of my snowflakes, it's just never get back to it. There you go. You see this one with all the water. That's how I made that effect with this brush. So it's a super handy thing for adding that wave texture. And there's another one. I showed you the star brush, the news that to add some additional details. Like I said, stars go with an awful lot of things. You know, just the size getting bit variety. You're doing stars of different size. It helps to make it more realistic, more like the night sky. Because, you know, if you look at the night sky, not all the stars are exactly the same size. Now, if you want to do some corner details like that, I didn't one of the snowflakes I showed you. Here's a technique for that. Let's go to digital. So after I brush now, you're gonna want to choose multi brush and go to snowflake food and said the number of brushes to four said It corresponds with the number of quarters, and I usually like to start out closer to the edge of the corner and from there a. You can see how it mirrors air long all the corners, and then my brush malfunctions and does that. But there's an example of how to add some corner decorations. Now, bear in mind that if you're doing some additional details closer to the snowflake, the corner trick where you do four fresh is and stuff like mode won't really work. Let's see what happens. Whoops. Problem right there. So if you're gonna do that, I suggest using either six or two brushes. Let's see how it looks with six. See, there we go. It did not overlap with the snowflake. It just conforms nicely around the snowflakes, pedals or even used to which results in this. You see, it didn't do any over here on the left or right side. Just did it in the corners over here. So it depends on what kind of effect you're going for, what all spaces you want to fill in, So those are some techniques you can use to add background and foreground details to your snowflake and to decide on the theme and the types of background and foreground details you want to add. If you have any other ideas for types of background sad or if you have any other tips for how to decide on the themes or patterns for your backgrounds, please feel free to share them in the comments in the meantime station for the next video, where all share some lead. You can monetize this hobby. If you see fit, look forward to seeing you in the next video. In the meantime, have an awesome day. 6. Easy Ways to Monetize Your Art: welcome back to how to create symmetrical snowflake patterns in Kreda today I'm going to share a few months you can use to monetize this new skill if you see fit. A lot of these methods revolve around selling the pictures as prints. So you're going to want to use a really high resolution on some of the websites they used. The minimum is 6500 by 6500 pixels. But to be able to sell a wider variety of products, I like to go with 8000 by 8000. That's the resolution I usually go with now. One of these methods is by selling things. Is it prints on deviant art? If you hit the submit button, it will take you to a page like this. You can choose a file to upload at a title at his description. After you choose the after you upload the file, you can add some tags in the category. Now I want to draw your attention to this spot over here on the far right side of the bottom of the list cell prints. You can hit that check mark and that will allow you to sell prints of your art. When you share your art on social media sites like TV and Darts, Tumblr or even on your own website, I think just having it signs just to help combat art theft. Another way of telling prints on your heart is through society. Six. And here's the examples of products with My Art on them and see art prints, wall tapestries, iPhone cases. They don't do quite as well with putting stuff like this on shirts. As you can see, it's just kind of sitting there, not really integrated into the shirt. Have they got shower curtains, some laptops, stickers, bar stools, beach towels, chairs and bags? There are a lot of different things you can get your art on. So in order to sell on this site, it's called Society six. You would hit cell. I'm going to upload one of my existing pieces of art are not actually gonna publish it, cause I've already published it on here, so I don't want duplicates, but you can kit browse on your computer, go to society six arts and pick one of the big ones. So you have to check. I own all the rights to this image have valid, writes etcetera. If you have that your content in that you need to check that I don't. So I'll just go to the next step. I'm just gonna take a little while to load. So Well, that's loading. You can take a little while some timeless. I'm going to show you another method you can use that is patri on. No, I'm going to look at this page in Firefox because it'll let me show you what it looks like when you're dot walked in. So you're not logged in to pay Triana. You can go to four creators you about all this information here, sign up and what Patri on basically does is it allows people to pledge a certain amount per month and get rewards according to how much they pledged. So let's take a look at my feet tree on account. Get an idea of what that looks like. You can see there are different tiers over here, so there's new adventurer one per month. There's a list down here of the different things people can get by signing up. So right now I've got early access to completed products, work in progress previews of my main Web comic sneak peek at the pros version of next First sneak peeks at the pros version of the next pages of the Web comic. And, of course, my heartfelt Thanks for your support. Here, too. You foe got all the Tier one rewards, plus an additional bonus. You get one of my novels and you can get the download page right here once you've signed up , so as he didn't see you consent different rewards for different tiers and how you can use that to monetize your art for this. Even if you're publishing the art toe publicly, you can, for example, offer higher resolution versions of the art on patri on is opposed to the ones that you share publicly. That's one method some popular artists do. You can also offer early access to a year. Art People get their art a few days, or a few hours earlier than everybody else. You can also offer sneak peeks at the behind the scenes of your art, such as the works in progress, the process you used to create your arts tutorials. I actually shared a version of this class on my patri on you see you got the video here. So when patrons actually got to see this class before everybody else, So that's another way you can monetize it. Let's see if Society six is finished loading. No good. So you can insert a title not actually going to publish this all just data title here. So left a category preventer drying in. Shoes and tags down here actually had more tanks in this. But this is just a demonstration. You can add a description right here. Then you go on to create products. So here you can see it's got a whole bunch of different products with the previews already on them. Now, for some reason, it starts with most of the products off. Not sure why it does that. It's kind of inconvenience, but you can turn on all the products that your picture is big enough for now. You notice what? So these I don't have a big enough image, so I would have to add a bigger image. I thought about making it a bit bigger, but honestly, my computer chokes enough on 8000 by 8000 pictures. I don't really want to push it any higher, so 16,000 will be enough for most of the products on here. If the throw pillows or tang killer pillows, wall clocks, little bite variety of stuff, you could already sell it this size. So once you've checked off all the different things that you want to sell in this product and go back to the top and hit publish, which I'm not going to do because I've already got this pattern in my store. So I don't want to have a duplicate. It's fine just going to hit. Delete on that. Since I don't want that duplicate Marcel, remove all the products for sale this post, and it'll take me back to my posts. Here, you see of Studio Art managed one and say It's page one so you can have her over here of you enabled products. You can see you the whole list of all the products you've got for sale, so those are a few different ways you can monetize your art. There are also other websites, kind of like society. Six. There's red bubble print full. I've only got it on society six. Right now what I am planning on adding others later If you have any other ideas for how to monetize the art, please feel free to share them in the comments. If you have any questions also, please feel free to share that. I'd be happy to help you out. So that's it for this video. I hope you have fun withdrawing your new snowflakes. And if you choose to monetize it through any of these methods or through any other method you know off, I wish you the best with that. In the meantime, have an awesome day. 7. 7 Final Recap: Congratulations, you've made it to the end of the class. I hope you've enjoyed learning how to create beautiful, symmetrical snowflake patterns and Krita. In the last few videos, I've explained how to use the multi brush tool, how to use my favorite brushes, and how to put it all together into a snowflake, as well as how to choose and create backgrounds for your snowflakes and how to monetize your new hobby if you so choose. If you have any questions or if you run into any problems you need help with, please feel free to ask me in the comments. Also, I encourage you to share your snowflakes in the class project and assign them so everyone knows they're yours. Remember the first three people to share their snowflakes. Good to show doted my social media channels with a link to your main art page. Thank you so much for participating in my class. If you haven't already, please follow me on Skillshare so you can see my new classes as I publish them and share this class with anyone you know, who wants a fun, easy, relaxing hobby that creates beautiful things. If there is something you've seen we do are create that you'd really like to learn, please let me know. It might just be the topic of my next class. In the meantime, thanks again for watching and I look forward to seeing your completed snowflakes.