Illustrate a selection of Summer Berries and Decorate a Tea Set with Them in PROCREATE | Irina Young | Skillshare

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Illustrate a selection of Summer Berries and Decorate a Tea Set with Them in PROCREATE

teacher avatar Irina Young, Busy May Studio

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Intro + Project

      2:28

    • 2.

      Tools & Materials

      3:26

    • 3.

      Inspirations & References

      2:50

    • 4.

      Whole Strawberry

      12:39

    • 5.

      Half-Cut Strawberry

      6:08

    • 6.

      Raspberry

      13:43

    • 7.

      Blackberry

      2:31

    • 8.

      Black & Red Currants

      9:16

    • 9.

      Black Currant Leaf

      9:58

    • 10.

      Raspberry Leaves

      12:33

    • 11.

      Strawberry Leaves

      5:57

    • 12.

      Teapot & Tea Cup

      11:10

    • 13.

      Creating a Composition

      13:28

    • 14.

      Final Words

      1:14

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About This Class

June is the season of berries! Join me in this fun class where we'll paint a selection of juicy forrest / garden fruits in Procreate and decorate a tea pot and a teacup with them (which we'll paint in Procreate too!).

What you'll learn in this class:

- using references for simplifying and stylizing illustrations

- sketching and painting strawberry (a whole one and a half-cut one), a raspberry, a blackberry, black and red currants, and leaves of all those berries

- using the same base for creating different illustrations

- creating a composition made of clip art

But mostly I hope that you'll have lots of fun painting these berries with me! As a bonus, I'll show you how I sketch and paint a teapot and a tea cup, which we'll decorate with our berries. I'll share my sources of inspiration with you, and many many tips and tricks I use in Procreate while working on a mini clip art collection.

Who is this class for?

Anyone who loves Procreate and who would like to create some quick and playful illustrations to use in an art project, like stickers, cards, wall art, etc. 

The class is suitable for both Beginner and Intermediate levels, it's super simple to follow, and as always, you'll get all the resources you need: Procreate brushes, a colour palette and some references and inspirations.

What you WILL need for this class:

  • iPad / iPad pro
  • Apple pencil
  • Procreate software installed on your iPad

All the other necessary materials and resources are provided for this class. You'll get:

  • Procreate brushes (.brushset)
  • A colour palettes (.swatches)
  • Some references (.jpeg)
  • A Pinterest board with botanical illustrations

Meet Your Teacher

Teacher Profile Image

Irina Young

Busy May Studio

Teacher

So you are here - I guess it means you and me have much in common!

We probably share the love for nature and wildlife, the beauty of flowers and birds, and all things pretty - welcome!

My name is Irina, I'm a digital and traditional artist, and I LOVE texture and watercolour!

I'm also a commercial illustrator, art teacher and a busy mum :)

I'm a strong believer that art and creativity make our life more beautiful, so I strive to inspire you to admire the world through painting. Glad you're joining me!

... See full profile

Level: Beginner

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Transcripts

1. Class Intro + Project: Hello and welcome to my new class. I'm Ana of Busy My studio, and today I'm inviting you to join me to a very berry tea party. In this class, we'll have fun drawing Tice berries and their leaves. We learn to arrange them into a nice composition. And we'll even create a tea set decorated with fruits perfect for a summer tea party. And perhaps you could take your creations even further. They can become you customize stationery or stickers or a piece of wall art you'll proudly hang in your house. Please make sure that you share your artwork here on Skillshare. Or if you're on social media, especially on Instagram, please make sure that you follow me at my undiscoe Busy underscoe May and make sure you upload your artworks. You tag me, and you use the hashtag very, very June. And that's how I will see all your lovely masterpieces. So grab your iPad, grab your Apple pencil, and, of course, a nice cup of tea, and some berries. And let's start our very barry class. S. 2. Tools & Materials: All right, friends, let's go through tools and materials you will need for this class. As always, because it's a procreate class, you will need an iPad Pro and an Apple pencil. You will also need procreatee installed on this iPad with the default brush. Now about the brushes I'm going to use. In the resource area for this class, you can find the group that is called Very Berry brushes, which I specially created for this class to paint our juicy berries and the leaves. And let me quickly explain to you what brushes are there. So there is a filler brush. We'll be using it as the main brush to fill the areas and for smaller details with reduced size. There is a shader brush, which we will be using for adding texture and darker areas to our berries and leaves. There is a few texturisers. So this one is vintage texturizer. You can create additional texture effect for your berries. There is texturizer cloth, which I quite like. Seeds candle laying, brush, which I hope you will like as well. There is salt texturizer adding a little bit of scratch. There is cloth details brush can reduce the size of it and create lovely details with a cloth. Texture, there are also two of the procreate default brushes, monoline and technical pencils, which I'll be using for sketching. They are not my brushes. As I mentioned, they are procreate brushes. Monoline, you find in the calligraphy section of procreate default brushes, and technical pencils you find in the sketching area. But I've copied them and added them to Veri Berry for your convenience so you don't have to go and look for them. The techniques I'm going to show you, I'll be using my brushes from Veri Berry which you're welcome to download and keep and use for your own projects. However, you are free to use your own texture brushes because there will not be much difference in what kind of texture or fillers you'll be using. So if you prefer using on your own, go ahead and do so. Colors. I'm also attaching for you the color palette called Veri Berry. But again, you are welcome to use your own palette. I've used my favorite colors for these types of fruits, but you don't have to use them. But if you want to follow this class step by step, the palette is available for you. That's all you need. 3. Inspirations & References: The very first source of inspiration I always recommend to my students is the wed photography. If you have a chance to take a quick photo, during your walk in the park or on your way home from work, use this opportunity. Not only it's great not to worry about royalties and copyright, but also taking your own photos gives you the chance to slow down and start noticing lots of beautiful things around you, even the smallest ones. Or if you are lucky to have your own garden, there are so many wonderful things to draw inspiration from. Alternatively, if the subject of your art is something like a strawberry, go ahead and snap a photo of your supermarket of farm shop bought fruit. Perhaps the plate you put on is very special, and the light that morning is particularly good. You might be amazed how beautiful and professional your photography turns out. Another reference option is royalty free websites with tons of references. I recommend unsplash.com and pixabay.com. It's not as beneficial as your own photography, but it gives you a quick, straightforward reference for your stylized illustration. I've created a simple reference file with some photos which you can find among the resources. And another reference option is scientific illustrations. They're particularly helpful when your subject is botanical, a plant, a herb, a flower, or a fruit. The huge value of such illustrations is no copyright as they'd mostly been created during the Victorian times of the late 19th, early 20th century, and there is so much inspiration in them in terms of details and stylizing. I personally prefer books with various museum illustrations. I've got quite a collection of them. But Pinterest will also do. I've created a small board for you, which you can access through the link in the description. 4. Whole Strawberry: So let's start with sketching our strawberry. Let's have a quick look at our reference. What makes a strawberry recognizable in my opinion, is its shape, its leaves, and its seeds. I've created a screen size canvas. I'm going to use the technical pencil brush from the very be set. And with any color, let's take some darker color. Purplish. And let's create the strawberry shape. I think the shape I'm going to go for, is going to be something like this. You see, I've sketched one side. I'm going to duplicate it, and I'm going to select select it and flip horizontally, and I'm going to drag drug it on the opposite side, I'm going to flatten those layers, and I'm just going to grab the eraser too, and I'm going to erase the lines that I don't need. Here is basically our main strawberry shape. Let's sketch the leaves because as we know, every berry is got leaves on top. That's how they grow. With the same technical pencil brush, I'm just going to freely sketch some leaves. I'm quite happy with my berry shape. That's our sketch. I can flatten it and we will use the sketch for both wholeberry and the half cut berry. Let's paint the whole strawberry. I'm going to create a new layer and I'm going to start with the leaves. With the feller brush, I'm going to choose the sort of olive green color. And I'm just going to start filling. Going to reduce the size, the opacity I will probably keep to 100%, and I'm just going to start filling the leaves. And let's switch our sketch off to see if everything looks good. Now I'm going to show you a little trick that I sometimes use. I'm going to pick the select too, keeping it on the free hand option. And I'm going to freely without any particular pattern, I'm just going to select a part of my leaves, and I'm going to open feather. And I'm just going to increase the amount to about maybe 12% if we go to adjustments and we select hue saturation brightness. I think I'm just going to slightly change the hue and I'm quite happy with this. Adjust it a little bit. We'll work on the leaves more, of course. Next thing, let's create a new layer, and let's clip it as a mask. And let's change the blending mode to multiply because now we're going to color darker parts of the leaves. I'm going to use the shader brush probably with the same green color I've just used for painting the leaves. I'm going to add with gentle strokes, some darker areas here and there. I'm quite happy with that. And for an interest, you can always add a little bit more details. I would use it as a clipping mask as well, and I would change the blending mode to multiply. I'm going to grab the filler brush again. Let's reduce opacity to around maybe 60%, let's reduce the size to maybe 6%. Let's see. Maybe even smaller. Maybe let's increase the opacity. I think we'll increase the opacity. And what I'm gonna do, I'm just gonna add just a little bit of weight That's it. I'm happy with my leaves and I'm going to happily flatten them. Let's duplicate them because one of the copies will be using for the whole berry and the other of the copy will be using for half cut beerry. Now let's switch the sketch back on and let's create a new layer, and now we're going to paint the whole strawberry. For that, I'm going to grab the filler brush, and the color I'm going to use is this happy red color, which is in the middle of the top row of our color palette. Let's see. I'm probably going to reduce the size to around maybe 25%. Yes. And I'm going to manually fill my berry with this nice red color. All right. That's my strawberry filled with the red color. It obviously doesn't look like a strawberry now it looks like some strange themato. But let's make it a proper strawberry. I'm going to create a new layer and clip it as a mask on top of my strawberry layer. I'm changing the blending mode to multiply. I'm going to grab the shader brush. And I'm going to add some darker areas. Don't try too hard to give a volume. However, the obvious choice of adding darker areas would be probably the bottom of the berry. See, not only mix some darker areas, but it also gives our strawberry a nice texture. I will probably make it slightly darker on the one side. Still a little bit on the other side, but mostly on the right side, and just to create the variety and texture, I'm going to grab darker red, which is the third red one on the top row, and I'm going to reduce maybe the size of the brush a little bit and opacity, and I'm going to just gently add some of the darker areas here and there around the edges in the bottom and on top. That's it. Quite happy with that. And finally, as we discussed previously, what makes a strawberry strawberry. It's got this distinct texture with the seeds on the surface of the fruit. So for that, I'm going to add a new layer and I'm going to change the blending to multiply. But you'll see what I'm going to do next. I'm going to grab the feller brush. I'm going to reduce the opacity. The size a little bit. I'm going to paint the seeds on the surface of my strawberry, again, guys, it's a reminder we are not trying to create realistic strawberry, we are just creating a stylized illustration. So no meat, you try and make it realist. With this sort of oval squished circle shapes, I'm just adding the seed texture. And basically, that's it. But there is a little note here. When I was preparing for the class, I tried different blending mode and instead of multiply, I tried screen, and I thought it worked better with a screen mode with a slighter seeds on the darker areas. And if you want to go even longer way, you can create a layer underneath this seeds layer, you can clip it as a mask and I'm going to change the blending to multiply with the shade of brush, darker red color with reduced size and opacity, what I'm going to do? I'm just going to gently paint the squished circles around the seeds. Because we know that in reality, they are dipped inside the surface. So we're just creating this tiny illusion of depth with our shader brush. Of course, you can always create a new layer on top of everything and add a little bit of highlight. I would keep the blending mode on normal, and I would grab probably the texturized salt and with pinkier color, I'm just going to add a little bit of but that's up to you, whether you want to add it or not. Decide yourself. You can use the shader as well to add some highlight as well. I wonder if it would work a little bit better. Yeah, I think underneath the seeds and if we change the blending mode to add, I think it looks better. Maybe reduce the opacity a little bit if it's too intense. Yeah, that's our whole strawberry ready. 5. Half-Cut Strawberry: Now let's paint the other strawberry, but this time it's going to be half cut. As I said to you in the introduction to this class, we're going to be using and re using the illustrations or parts of illustrations we've already created, so we're not going to start every single thing from scratch. Let's combine the group together, and that's our whole strawberry. We're not going to flatten it just yet. We're going to duplicate it. We're going to switch one strawberry off. You see that will be our whose strawberry, and this one will be our half one, and we're just going to delete. The seeds layer and delete these darker areas. Let's switch one of the leaves copy off and switch the other one on and drag it underneath our strawberry. Now, let's go back to the group of the half cup strawberry where we deleted the seeds layer, and let's paint the middle of the strawberry. But first, let's have a look at the half strawberry. You see there is this red area, there is a lighter area in the middle, and there is this heart shaped center. I'm going to create a new layer and I'm going to keep it in a normal blending mode. And with a filler brush with a slighter pink shade, I'm going to paint the middle area of my strawberry. I might grab a little bit of the lighter color with the shader brush. I'm just going to take the slighter pink, which is on the second row, the fourth swatch, and I'm just going to add a little bit of whiter patches. That's it. And now let's on the same layer, let's draw the little, like, the way the seeds grow, the little lines around the strawberry. So let's try. So I'm going to reduce the opacity of the brush to maybe 60%, and I'm going to reduce the size to probably 5% or so. And let's just draw these little paths. And the final part. Let's create a new layer. I would change the blending mod. I'll try to use linear burn. However, I might change my mind later with the feller brush, we're going to paint the heart of our strawberry. I like to call the heart of it because it's like heart shape. So I'm going to just grab this darker. Cool. I'm going to increase the size of my brush, increase the opacity to around maybe 80%. And with a very loose heart shape, I'm just going to paint this sort of like elongated heart. Not going to cover precisely all the areas maybe going to grab the of toe and I'm just going to place it. In the middle. Let's play around a little bit with the blending molds and see which one works best. At the moment it's linear burn. Let's try color burn. That's very bright. I like it. I'll remember. Darkness too dark, multiplies too dull, lighten screen, C dodge a color, overlap visible. Hard light is quite nice. You know what, guys? I'm going to keep it on hard light. Let's see. Let's switch the sketch off. I might create a new layer, use it as a clipping mask and just add a little bit of texture with the salt texturizer. Let's see if it's going to work. Maybe with a bright red color. Let's change the painting to color part. Yeah. And let's add a little bit of the scratches here and there. But that's just optional. So that's our half strawberry ready. So what I would recommend, I would recommend grouping the half strawberry, renaming it. Et's switch it off, and let's switch on whole strawberry. Let's group it together as well. And let's name it. Strawberry. So we don't get lost and confused. You can go ahead and flatten them if you know that you're not going to reuse these layers anymore. So that's what we've got. Let's have a look. Perfect. 6. Raspberry: Now, let's paint a raspberry. So the principles are going to be mostly the same as painting strawberries. However, there will be slightly slight variations, and I'm going to show you some tricks how to make a stylized raspberry. But first, let's have a look at raspberry and Blackberry. The distinct features of these berries are their shape, their leaves, and the structure of the surface. Let's start with a sketch. I've already created a screen size canvas, and I'm going to grab my technical pencil brush, default from procrete and I'm going to grab this color and let's sketch shape of the raspry. I'm going to sketch one side. I'm going to duplicate it, and I'm going to flip it horizontally. And I'm just going to drag it on the other side, and I'm going to pinch it together. We can erase the unwanted lines. Let's just make it slightly bigger. I'm going to create a new layer and I'm going to paint sorry, sketch some leaves. Same principle as with the strawberries. Let's just maybe keep in mind that raspberry leaves they are more thinner on top, they've got sharper. This part is sharper and narrow in the contrast of this middle part. So I'm quite happy with that. Now, the difference between a raspberry and strawberry sketching this time, I'm going to divide my raspberry into four sections. I'm just going to maybe divide it like that in half and I'm going to divide the upper part in half, maybe making the very top part just slightly narrower, and I'm going to divide the bottom part in half, too, making the very bottom part slightly narrower. Ways create a new layer and I'm just going to sketch these details. I'm going to start with the very top For the sketch, it doesn't really matter. But when we start coloring and adding darker and lighter areas that will add this little detail of realism to our berry. Quite happy with that now. Let's just the shape of, why not? You can clearly see it's a raspberry or blackberry or that type of a berry. And that's pretty much it. That's our sketch ready for both berries. And let's start with the raspberry. I'm going to flatten the sketch layers. Let's look it so we don't throw it accidentally. Let's start painting the base of our raspberry. We're going to start with the leaves same way as we did with the strawberry. We're going to grab the filler brush. We're going to increase the opacity to 100%, and the size probably around maybe 15%, but let's see. We use greener color for the strawberry leaves, I suggest that we use a little bit slightly colder colors for the raspberries, colder shades of green. I suggest that maybe we use maybe these two. I'm going to grab the lighter tu color and I'm going to just start filling the leaves with this color. We can do the same thing as we did with the strawberry leaves for the sake of color transitioning, adding a little bit more hue. So I'm going to take the select tool, choose the free hand option, and this time I'm going to select not the middle, but one of these areas, I'm going to open feather, and I'm just going to increase the amount of feather to around 10%, and I'm going to go to the adjustments area, open hue saturation, and I'm just going to slide the hue options and see what works best for me, I quite like this brownish color might just reduce the opacity, not opacity saturation a little bit maybe greener probably works better. Just to marry it a little bit with a strawberry because they will be all in our canvas together. That's it. I'm quite happy with that. I'm going to create a new layer, clip it as a mask, change the blending mold to multiply with the shader brush, using this darker teal color, which is right above the lighter one that we've just used, which is the very right color on the top row. I'm just gonna add some darker areas here and there. And maybe let's add a little bit of veins details, and I'm going to create a new war, clipping mask. But this time, I'm going to use the th brush with very small size, and I'm going to make lighter color. So for that, I'm just going to grab this minty green color which is onto the left of the darker seal, and I'm going to paint. That's a leaves radium. We can flatten them, and let's duplicate them because we will need them for both blueberry and raspberry. So let's switch one group of leaves off. And let's create a new layer, and let's paint the raspberry base. For that, I'm going to use the same filler brush for the colors, I'm going to use this little group of colors. I'm going to choose this pink red one, and I'm just going to increase the size a little bit of the brush and I forgot to paint the leaf one of the leaves. Let's just quickly correct this mistake. Right, so everything is painted now. So we've created a new layer underneath our copy of the group of leaves, and I'm going to use the feller brush, as I said, and the pink red color, and I'm going to paint the base of my raspberry. I wonder if I should add a couple of details here. I think that's what I'm going to do. Yeah, so here is our raspbery. Now I'm going to add darker areas. I'm going to create a new layer, clip it as a mask, and I'm going to change the blending mode to multiply. With a shader brush with this darker deeper red color, I'm going to add a little bit of volume. And now I'm going to reduce opacity a little bit and maybe even the size, and I'm going to add some darker areas like on top of which row of the sort of like little bol details of my raspberry, just to separate a little bit the rows from each other to give myries my berry like slightly more details. I would also like to maybe experiment with other textures. I'm going to grab this texturizer vintage, and I'm going to select this darkest color. And let's see how this one is going to work. I might actually reduce the opacity a little bit and just add a little bit of texture to my raspberry here and there. I'm going to experiment a different size of this brush. I find it the more you use colors, color variations, close and tone and shade, the more interesting your illustration looks. What I'm going to do next, I would like these bold details to be even more visible. For that, I'm going to create a new layer. I'm going to take the filler brush. I'm going to reduce the size to maybe 6%. Let's see. But the point is the color I'm going to try and use is this pink color in the middle. Let's see, yes. They might change blending mode to something lighter. But first of all, let's do the technical part. So maybe 5% and what I'm going to do, I'm going to outline each ball details separately. You can use a trick of creating drawing a circle and holding the pencil down to create a perfect circle. You can do that. I prefer my illustration to be more organic, more relaxed, painted in a more relaxed way. That's why I'm not going to do that. I think this sort of method, it adds sort of it removes the seriousness and the realistic attempt from our illustration, makes it more playful. Makes it more stylized. Especially if you illustrate for children's books, that definitely adds this childish element. Let's check different blending modes. At the moment, I've got it on normal mode. Let's try Lighten, you can see it, screen. I can see it on screen. Color doge is a little bit too bright, so it add the color of interesting soft light, hard light in your light. I think I might leave it as linear light. And I'm going to create a new layer and with a shed of brush with the slightest sheade of pink in the very middle of our palette, I'm just going to add a little bit of highlights by gently painting in each circle. And just like that, this is our raspberry radian. 7. Blackberry: And now, again, back to re using our illustration. So I'm going to show you how to turn the raspberry into a blackberry without painting the blackberry from scratch. So for that, let's add all the raspberry layers into the group. Let's duplicate the group. So these leaves, let's just add them. And now we're going to work with this group, so let's switch the duplicate the other copy of leaves on. And we're going to do it really simple. So this is our raspberries base. As you remember, we made it pink. We just gonna use this purple as a base by dragging and dropping it. A vola, our raspberry almost turned into the blackberry. So shades we still have shades in sort of red. If you wish, you can change the shades into blue. The deep blue, deep blue color, petrol type color next to the purple, I find it complementing purple really nice in this blending mood. So I've just dropped the blue into the red. I think that brings the purple up a little bit more. Now, these circles, they're obviously too pink now. Let's turn them into something else. Let's select the slight blue color and see. Boom, see, now it's more like blueberry. And you can even change the highlights to blue ones. But the highlights I think they are good as they are. So now we have a raspberry and Blackberry. Let's group them together. You can rename them if you want. But essentially, here's what we've got to work with. We've got the raspberry and the blackberry without having to paint the blackberry from scratch. 8. Black & Red Currants: I've already created a screen size canvas, and let's sketch our currents. But first, let's look again at our references. So you can see that the distinct features of the barry is its size and the structure of the way it grows, which is like a cluster of berries on the twig. Let's grab the technical pencil brush, darker color. And basically keeping in mind what our food black currents are. It's basically a cluster of berries on the main twig. Let's just sketch it. So I'm going to sketch like reversed C. That will be our main twig, and I'm going to sketch maybe and even ner finer twig. And let's put some berries on it, which are essentially the circles. So let's vary them in sizes for the interest of our illustration. So let's just maybe split this into two like this. And I would start with larger ones. So that's essentially that's our current sketches gradient. Let's start coloring. So I'm going to locate a sketch in here. I'm going to create a new one. And in a normal blending mode, I'm going to grab the feller brush. And the color I'm going to use, I'm going to start with the mean twig. So I'm going to use this soft brown color. Let's see. Taking. W reduced size, I'm gonna let's actually reduce the opacity of this sketch so it doesn't interfere with my coloring. I'm just going to start gently coloring the Don't limit yourself. Don't create the perfect arch or anything. You can add a little bit of, like, nodes here and there that will only make your illustration more interesting. And again, for the interest, I'm going to paint the rest in different shades of green, the rest of the twigs. I'm going to create a new layer and this time, I'm going to grab this sort of very first dark green color. And that will be my twigs, like the main ones holding the biggest berries and the clusters basically of the berries. I'm just going to carefully color them in joining these twigs together, joining this twig with the brown one. See, it's already variations of colors create a little bit more interesting effect. And now let's add the finest twigs. I might create a new layer in case I want to move them around. And the color I'm going to use is this olive light olive green, which is almost in the middle of the top robe. I'm going to with the same principle, I'm going to make them even. Enough. That's our twig painted, and I'm going to go ahead and flatten them, and I'm going to duplicate it because I will obviously need it for both sets of blackberries of blackberry, sorry, black currents and red currents. So I'm going to switch that one off, and I'm going to draw my berries, paint my berries on top of the twigs. I'm creating a new layer on top of my twig layer. And with a filler brush with increased size, but with the same 100% capacity, I'm going to paint my black cards. For that, I'm going to use this bluish color. I'm going to select it, and I'm just going to literally paint with the circles. Remember, with this brush, if you want less texture, just reduce the size, and this will give you less texture and the less fluffier edge chapter edge also the trick that you probably all know if you create a circle and hold the pencil down without taking a off paper, open the Ellipse menu on top and choose circle. That will create a perfect circle for you. You'll be able to colour it. I usually paint my berries just by hand without using this perfect circle option. That's how berries ready. Let's add some darker areas for that. I'm going to create a new layer. I'm going to clip it as a mask, and I'm going to change the blending mult to multiply. And I'm going to use the shader brush, and I'll probably use the darkest deepest inky blue. Yeah, it's going to be barely visible, but I like how it gives my berries this texture that goes throughout our whole thin. That's what unites them together. So a little bit of darker areas. And let's add a little bit of highlights. I'm going to create a clipping mask with the normal blending mode. I'm going to choose this light blue colour. I'm going to bring the opacity right up to 100%. I'm going to reduce the size, and I'm just going to add a little bit of highlights here and there. Again, that's optional, but I think we should add a little bit of these little noses. I'm going to use the slighter beige color. Switch the sketchbck one. And let's just add this little nose details so each berry has a nose. And now we can switch the sketch off. We don't need it anymore. So that's our black currents. So I suggest that you group these berries together with the twig probably. And let's duplicate this group. Let's put it on top of our other copy. Of the twig and exactly same way as we turned raspberry into blackberry in the previous lesson. Let's turn black current into red current. I'm sure you can do it already without my help, but I'm going to show you again. Let's use the strawberry breads, if you don't mind. I think we'll use. Let's try this darker color. See, I'm going to drop this red color on each berry one by one. Already looking good, but I would also change the shading. Let's choose this darker straight color. And instead of this blue highlight, let's use pink highlight. Let's try this first. Yeah, I think that's quite nice already. And let's see what we've got. You can rename them, of course, for convenience if you want. But let's see. So we've got we've got red currents. And we've got black currents. 9. Black Currant Leaf: I've created a screen size canvas. And let's catch the black current leaf. First, let's have a look at our reference and what's special about the black current leaf. So you can see it's its shape and the toothed edge. So I'm going to grab my technical pencil, maybe reduce the opacity a little bit on the size. And let's catch the leaf. So I'm going to start with the central vein. That's pretty much the sketch of the black current leaf is ready. I'm going to create a new layer, and now I'm going to show you a different way you can paint your objects, different from the way we painted our berries in the previous lessons, and you can choose which one you prefer because I personally, my illustrations I alternate depending on what effect I want to achieve or for quickness. This time, I'm going to grab this monoline brush. So I'm going to use probably this color, this lighter green. And what I'm going to do. I'm going to first of all create the outline of this leaf. As we determined, the edge of the leaf is toothed. And that's the reason I'm not using our filler brush because it's going to be it would take absolute edges to paint each tooth, which is doable, but for quickness. With a mon align brush, I'm going to outline the edge of my leaf, making the teeth, like literally drawing them manually. Make sure you don't leave even tiniest gaps between your strokes because while filling the color, you don't really want to fill the entire canvas. So there are ways around it, but just to make sure. So before filling with color, I usually another tip for you, I usually duplicate the outline and pinch it together just to make sure that even the tiniest gaps are not going to affect filling with the color. And I'm just going to drop the green coloring. Let's see if it's all covered. A vola that's the base of our leaf ready. But obviously, when you use a monoline brush for calligraphy, dropping the color, it's obviously going to be really flat and we don't want it. We like texture and we want it to be cohesive with the rest of our elements with our berries. I'm just going to manually add some texture on top of this leaf. So I'm going to create a new layer. I'm going to clip it as a mask and I'm going to change the blending mold to multiply because I want the texture to be darker than the leaf. I'm going to try and use Shinto with the same color. I'm gonna increase the size, maybe reduce opacity so it's not too intense. And I'm just gonna add some texture to my leaf. You can try different shades there is vintage texture you can try or you can use a combination of different brushes to create a more interesting effect. That's pretty much it. I'm not going to overdo it. To me, it looks good already. It looks textured enough like vintage. I'm going to pinch it together and that's the base of my leaf. That's how we quickly filled it with the color. You can obviously take an eraser too. You can mix some of the teeth a little bit. Sharper. However, remember, for the purpose, we're going to use the sleeve for the pattern and to use in the composition. The tiny details are not going to be necessarily noticeable. I wouldn't sweat too much over it. Now the next thing, I'm going to create the central vein. On the new layer, I'm not going to clip it as a mask just yet because it's going to go beyond the leaf. I'm going to immediately change it to multiply and I'm going to grab the filler crush. I'm going to reduce the size a little bit, and I'm just going to create this arch. Whatever works best for you, you can start from left to right, or you can start from right to left depending on which way you hand feels steadier. I'm going to do that. Essentially, I've created the central vein. I'm also going to create this in the secondary veins for each leaf. See, from the tip of the leaf, it goes right here. And let's see if we duplicate no that's too intense. And I think we can flatten it together. And I'm going to grab even darker green, which is the very first one on the top row. And I'm going to just paint the sport a little bit darker, maybe make it a little just a tiny bit thicker. And that's it. And now I'm going to create a new layer, and this time, I'm gonna clip it as a mask. I'm going to change it again to multiply. I'm going to change the color to this screen. She's the fourth from the left on the top row. And maybe reduce opacity a little bit. And I'm just gonna create the veins coming from the central vein to the edge of my leaf. Now let's add some darker areas, some shading. I think I'm going to create a new layer between the veins and the base of the leaf. I'm going to change the blending mode to multiply. And let's use the shader. Just for a change, I'm going to use this bluer green like colder shade of green. I'm just going to add some darker areas around the edges around the center. Let's add a little bit of red. So I'm just going to grab this darker red on the top row, not a dark, medium dark. I'm just going to add just a tiny bit of red just to make it a little bit and I would also maybe take the lighter shade of green. I'm gonna reduce the apa size, and I'm just going to emphasize this sort of, like, auxiliary veins a little bit more with darker color. Just not thinking too much, guys, not dwelling. I've I've drawn so many leaves in my life. So I think that I can paint them with my eyes closed. With a medium, by the way, digital tradition. So that's basically just to add a little bit of yeah, I guess that's it. And now let's add a little bit of a highlight. I've created a new layer on top of the darker areas. I keep the blending mode on normal for now, and with the same shed of brush, I'm just going to grab. So let's grab this lighter till green color and just add a little bit of highlights, lighter areas. In the middle or between each vein. I wouldn't I wouldn't do it too intense just with lighter touch, maybe reduce the opacity, even more, but literally with this line falling the shape of the leaf. We are creating this. So that's our black currently, Freddy. Let's switch there. 10. Raspberry Leaves: Alright. I've created a screen size canvas like I did with the previous illustrations, and let's start with a sketch. So let's have a look at the leaf and notice its shape, its structure, and its tooth edge. Using my technical pencils, some darker color. I'm going to create the leaves, sketched leaf, which is very similar to the one that we created in the previous lesson, which is the black current leaf. However, it's slightly different. Unlike the black current leaf, raspberry leaf consists of separate segments, despite the fact that it's got the palmate shape. It consists of different separated lobes, while the black current leaf is one solid shape. Um, so if I create the central vein like that, I'm going to sketch it. And I'm gonna again, sketch the central veins of the sort of like secondary lobes. Um, I'm gonna sketch the first lobe. It's a very simple triangular shape. And these two lobes, they are not the part of the solid shape. They are separate lobes. Let's sketch them triangular. It's go out with edge as well. Same as a black current, but we will be using our monoline brush to create those teeth while coloring it. And in this particular exercise, I'm going to show you, again, how to utilize the previously created illustrations, how to use and reuse and how to shorten the time you spend on certain illustrations. Now I'm going to start coloring it. So I'm going to create a new layer. I'm going to take my monoline brush. The color I'm going to choose this color, and I'm going to create the outline of this mean leaf emphasizing the teeth. Et's duplicate it to make sure there are no accidental gaps in our line. Let's drop the color in the middle. I'm going to create a new layer. I'm going to add this clipping mask, and that layer will be our texture. I'm going to change the blending mode to multiply, and I'm going to grab the venta texturizer let's see if the same color I think it works fine with the same color that I used for the leaf, but because it's the multiply blending mode. But again, feel free to grab maybe the shade the brush and see how it's going to work just to add a little bit more texture. And I'm going to flatten both layers just to get the stuck out of the way. Now, let's create a new layer, and let's clip it to our leaf, and that will be our central vein. Let's change the blending mode to multiply again. And with the filler brush with reduced size with the same color, let's draw a central vein, see, we sketched this one. Basically, we're going to repeat this curve. We can start this invisible and bring it to the tip of the leaf. Let's make maybe even smaller size. Let's make this secondary veins. If you feel that the vein are not bright enough, they don't stand out enough, feel free to duplicate this layer and maybe play around with the opacity or just leave both with 100% opacity. And now let's work on this leaf, similar to what we did in the previous lesson with a black current leaf. For that, I create a new layer right above our base layer with a color. I'm going to change the blending mode to linear burn. Might change my mind later. I'm going to see how it turns out, with a shade of brush, I'm going to grab this dark teal color, which is the very right color swatch on the top row. And I'm going to reduce the size a little bit, keep the opacity somewhere about 50%, and, that's too intense. Let's keep the opacity even lower. Yeah, probably that. And I'm going to add some darker areas here and there. See, I already can tell that this blending mode is not working for me on this leaf because it gives my lovely tell color. There's unnecessary muddiness. Sometimes muddiness is nice, but not in this case, it just gives us darker colorless areas and I don't quite like it. That's not the look I'm going for. I'm just going to try and experiment with other blending modes. Let's see, color burn, not much difference, darken disappears, multiply barely visible. And let's see what can help. I think linear light is probably the closest to the look I'm aiming for. You can see it actually gives the leave some color. Let's add a little bit of maybe brownish color. Let's see how it works. Yeah, quite like that. Just a hint, a tiny bit here and there, just give it just a hint of variety. And let's grab the darker color again. It can be this dark teal or you can use some warm shade of cream I'm just going to emphasize the darker areas around the veins with gentle strokes, similar to what we did with the black current leaf can switch back to this teal color, same as with the same as with the black current leaf, I would like to create some highlights. So I'm going to clip the layer as a mask, and at the moment, I'm going to keep it on normal blending mode. And with a shader, with the reduced size maybe to around 3%, the color I'm going to use is this minty green color, and I'm going to add just a little bit of highlights. And that said, I'm quite happy with my leaf. Now, next step of this group the leaf layers into one. And what I'm going to do, I'm going to use the leaf that we created to make the secondary leaves. And at the same time, I'm going to keep it as a backup and an option of the single leaf. Let me show you what I mean. So I'm going to duplicate the group once, twice. And one more time. So as a result, you will have four groups of the raspberry leaf. I'm going to switch this group off because that will be my single leaf, which you'll find very handy when you create a pattern or when you create a composition in the next lessons. But now I'm just going to work with these three leaves. Let's flatten them. And let's rearrange them, so we actually create this palmate shape of a raspberry leaf. So we'll leave this group as it is. That will be our main one. Let's switch the other one on, and I'm going to switch the magnesic and snapping off because I don't need really this sort of assistance and making sure that I'm on the uniform option. I'm just going to reduce the size of the leaf and see I'm going to add it there. So from here, a couple of options, I'm going to show you what you can do next. You can duplicate this left hand size leaf and going on the move, you can flip horizontally and you can arrange it symmetrically on the other side. You can do that, or you can take our third copy of the leaf. You can flip it horizontally in case you want just slightly bigger size or whatever, and you can just arrange it the way you like as well. It doesn't have to be symmetrical. But something like that. And that's it. That's our triple leaf is ready. The only thing we need to create is this little stem coming out of the leaf just to enhance a little bit of volume. See this bigger leaf, I'm going to create a new layer. I'm going to add this clipping mask and changing the blending multi multiply. I'm just going to add a little bit of shade with a shade or brush. Using darker teal color, just a little bit to emphasize that there is some overlapping going on, so those leaves don't merge together, so you can still see the edge, the nice edge of here. That's why I'm just adding a little bit of darker area to the bigger leaf. That's our raspberry leaf is ready, and I'm going to go ahead and flatten it. As a result, we've got one single leaf and one triple leaf. Let's create a stem for both of them. I'm going to create a new layer and I'll probably move it underneath both types of leaves and using the fill up brush with probably the same darker color with reduced size. I'm just going to draw with the motions. It's actually debatable whether you will need it or not and depends on the pattern and the composition you're going to create in the next few lessons. But I will also show you how to remove the unwanted elements, how to reuse them, et cetera. We're going to switch the sketch off and let's see what we've got. Let's duplicate this little stem. Let's merge this together. We've got one leaf. And I'm going to flatten this one as well over the stem, and we've got a single leaf. So there you go. Our raspberry leaves are ready. 11. Strawberry Leaves: The technique I'm going to use for the strawberry leaf is exactly the same as for the raspberry leaf, which is going to be creating one single one and using it as smaller elements. And if you look at our reference, you will clearly see that these leaves have a very distinct shape and serrated edge. So I'm going to grab the technical pencils for sketching, and I'm going to sketch my strawberry leaf. That's my central vein. And because of the shape of strawberry leaves, I'm going to create this type that will be my main leaf. And this always will add to the edge while coloring. And the technique is exactly the same. I've created a new layer, and with my mon line brush, I'm going to add some color. But unlike the raspberry leaf, instead of cold the shades of green, almost still, I'm going to use warmer shades of green, and I think I'm just going to use this one. It's the swatch in the middle of the second pro and I'm going to create the toothy edge. And I'm going to duplicate it, flatten it, and I'm just going to drop the color in the middle. Let's add some texture, clipping mask, changing the blending on to multiply. And let's use the combination of texturisers. Let's start with a texturizer vintage using the same color with a reduced opacity. I'm just going to add a little bit of texture. And let's use texturizer cloth with the reduced opacity just for some variety. Let's try maybe slightly different shade of green. Let's use this one, the swatch in the middle of the top row, just to give a little bit more color variation, let's flatten it together to get the stock out of the way. And now let's create the central vein, New layer, clipping mask, multiply. With the filler brush with a reduced size, I would bring the opacity to 100%, starting with the bottom, I'm going to drag this line to the top of my leaf and I'm going to create secondary veins. Now let's add some color variations and darker areas. I'm going to create a new layer between the base layer and the veins layer. I'm going to change the blending mode to linear light and with a shader brush, that. And let's add a little bit of highlight on the new layer with normal blending mode. Let's use this minty green color, which is the second swatch from the right on the very top row. I'm going to increase the opacity a little bit, so it's kind of more visible. That's it. That's our main leaf ready, and we're going to do exactly the same as we did with the raspberry leaf. I'm going to duplicate it. This one will be our single one and this one will be part of our triple one. I'm going to duplicate each group we have three copies of the group for this leaf and let's flatten them, and let's arrange them. Around our main leaf. Anyway you prefer, and let's add a little bit of darker area to show the overlap, clipping mask, multiply, and with a shader brush, let's use some darker color. Maybe this dark teal, and I'm just going to gently go around the edge. Not around the edge, but underneath those two secondary leaves, lobes to create the emphasis. Of the overlap. I think that looks good to me, and I'm going to just merge it together, flatten it. And here we go. As a result, we've got one single leaf and one treble leaf. And let's add the little foot, which let's place underneath, both leaves. And with the filler brush, the color I'm going to use is this fourth color from the left on the top row. I'm just gonna draw and let's duplicate it because one will be for the triple leaf, and the other will be for the single one. And let's switch the sketch off. There, we've got two strawberry leaves ready to take part in some fun activities in the next lessons. 12. Teapot & Tea Cup: Now, let's create our teapot, which we will be decorating with our Berries for your creative project, whatever you decide to be. I'm just going to grab the technical pencil, and I'm going to sketch my teapot here. So the shape I've chosen is very standard, classic shape of a teapot just to keep it simple. But you, obviously, depending on what shape you prefer, you use the number and the size of your ellipses to connect them together, and I'm going to show you what I mean. I'm going to create three ellipses and I'm going to create connecting with the curve on one side. Now what I'm going to do, I'm going to duplicate this layer with a sketch. I'm going to choose Select and I'm going to flip it. It's not select sorry to move to, and I'm going to flip it horizontally. I'm just going to push it a little bit. That's you see like we've played the pot. But what makes it the teapot, the anatomy of the teapot, we will need a lid, a handle, and a spout. Let's create a new layer and let's continue sketching. The lid, you can create exactly same using the same technique as the body. You can create a curve on one side, you can create the lips with the same perspective as our three previous ones, unless duplicate it, and let's flip it horizontally and let's drag it on this side, and let's flatten it. Let's put a little decorative element. On top. Let's flatten it to get it out of the way. Let's create a new layer and I'm just going to sketch a spout Let's flatten it and let's create a new layer and let's sketch the handle on the other side. And then flattening it, you can go ahead and grab the eraser tool and erase the lines that you do need, but in my opinion, it's not really. It doesn't really affect anything. And here is the sketch of our teapot, ready to colour. Maybe you know I'll make the spout just a tiny bit more refined. And it's all flat and all good, and I'm going to create a new layer. I'm going to take monoline brush again and the color I'm going to use for my teapot is this dark blue color. Because I find it working really nice and maybe I'll increase the size of the brush. And what I'm going to do. The idea is the body of the teapot will be one color and maybe the very top of the lid. But the lid, the spout and the handle will be of a different color just to give it a little bit more interest and make it less flat. Let's create a curve. In terms of coloring, you can use exactly same technique as you used we used for the sketching. And that's it. I filled it with this dark navy blue color, which I very much like. Let's on the same layer. Let's create this decorative spot. You can just colour it in just like that. And let's create a new layer above the body because that's going to be our lead. And the color I'm going to use for it is this light blue colour. And let's use the same technique. To make sure the line is solid and I'm filling it with a light blue color. Now, I'm going to create a new layer underneath the teapot, and let's make the handle. With the same color with a monoline brush, I'm going to create this kind of curve. You know probably yourself that if you hold it down like that, it will create a smoother curve. I'm just going to If you hold it down, if you hold the pencil down on the surface of your iPad, it will create smoother cove. And let's fill it with a color. And let's make a spout on a new layer. Let's drop the color. The very last thing that we need to do in terms of layering the colors, let's make this parts because they represent the top view. Let's make them slightly darker. By the way, I'd go ahead and flatten merge together the spot and the handle because we can apply the same effect to them. I'm going to create a new layer and I'm going to grab this darkest navy blue, which is the fourth swatch from the right on the very bottom row. Switch the sketch off, and that's the base of our teapot. And now let's add some details on our teapot. Let's start with the handle and the spout. So I'm going to create a new layer. I'm going to clip it as a mask, and I'm going to change the blending mode to multiply and with a shader brush with the same sky blue color. I'm just going to add a little bit of darker areas and now I'm going to take the maybe this bright tell color. It's another trick for you. Adding the colors that you've used for leaves and berries is going to help you bring these elements, design elements together as a group. So I'm just going to add a little bit. I'm just trying to keep it very simple. I'm not going to worry too much about anything. And the lid, let's do the same with the lid. I'm going to clip a new layer as a mask. Change the blending mode to multiply, and I'm just going to add a little bit of texture here and there. And that's it, I'm quite happy. And now let's work with the darker part with the body. On top of this darker blue layer, I'm going to create a clipping mask, and I'm going to keep the layer blending mode on normal. And with the texture vintage, I'm going to grab this lighter blue color. So I'm going to add texture on the contrary, lighter on the darker background. So I'm going to reduce increase the size, keep the opacity relatively low. I'm just going to add lighter areas here and there. Let's grab the shadow. And let's see maybe we'll add a little bit of darker area in the bottom. I'm going to create a clipping mask. I'm going to change the blending mode to multiply. And with a shader brush, I'm going to grab the same dark blue color as I used for the teapots body. And I'm just going to add a little bit of darker areas. Here and there. And that's it, guys, that's my teapot ready, and that's as simple as it's going to get. Now I'm going to make a tea cup as a part of the set with my teapot, which we're going to decorate with the same design. Oh, different one if you wish. The principle of creating the teacup is exactly the same as the teapot. I'm just going to speed it up. But again, keep in mind what shape what type of cup, whether it's a mug, whether it's a cup and the saucer, you're going to create and that will determine the number of ellipses you create and the way you connect them with the curve. I'm opting this time for exactly the simplest shape possible of my cup without a saucer to match my teapot. And there you go. Our teacup is ready. So here's what we have Teapot. Teacup. Nice combo. We can obviously play around with adjusting the scale of them in relation to each other. But I would say that our crockery is ready to decorate for our summer tea party. 13. Creating a Composition: Right, so now it's time to create a composition of our elements that we've illustrated in the previous lessons. So first of all, we need to copy them all to new canvas. Here I've created the screen size canvas for simplicity, so make sure that you flatten all your berries and the elements. So here I've got two strawberries, whole 1.5 cut one, and I'm going to copy them to the new canvas. And the way I prefer doing it, I'm going to swipe select both of them. When you are on one layer and swipe to the right with the other one, you can select two layers at the same time. And when you press it down with your Apple pencil, it grabs them. Keep holding it, don't let go. You see once this plus two sign turns green, you can let go and they successfully copied on your new layer. Let's do the same with the rest of them. Right, I've copied them all and let's check together. What elements have we got? We've got all on separate layers. We've got half cut strawberry, whose strawberry, Blackberry, raspberry, black current, red current, black current, black current leaf, raspberry leaf triple, raspberry leaf, single, strawberry leaves triple, and strawberry leaf single. All these elements are on separate layers, and now we're going to try and arrange them in a composition. Here, there is definitely no rules applied, but I can give you some recommendations in terms of the composition. Like in any composition, they should be the main element because we're decorating we're making a decoration for our teapot and the teacup. You can imagine it probably should be central type composition. There will be something like main hero in the center and there'll be secondary and tertiary elements around it. So in the composition I keep in mind right now, I think I'm going to make my two strawberries as the main hero. So for convenience, I'm going to switch all the layers off and I'm going to start playing around with my strawberries. Because they are so big, I'm going to reduce their size right away, maybe like this. And they will be in the center of my composition. So I think I'll put the whole one at an angle like that, and the cut one I'm going to arrange just slightly lower and they will be in the center of my composition. I'm going to add I think the blackberry to complement them because Blackberry, you can make it actually a central part of the composition as well, but because blackberry tends to be a little bit smaller than strawberry, I think I'm going to reduce the size of it in comparison with the strawberries and I'm just going to place it like this. You got a cluster of berries. Let's add some leaves on the background. I suggest that you group this part of your composition, the central one and put it on the very top, the other layers are automatically on the background of it. Let's see what we can do. I'm just going to play around with positioning the leaves and deciding what works best. You can see that I'm playing around with the positioning, with the angle with the scale of my elements and the more variety you've got of all these aspects, the scale, the positioning, the better it will look, the more interesting it will look as your composition. And at the moment, I'm quite happy with the leaves positioning, and I'm just going to add the smaller elements of black current. I think I'm going to bring them on top of the leaves. Leaves create the background of my composition, and the red currents will go on this side, just to create horizontal. And that's pretty much what I kept in mind when I decided to create a composition for our tipo. Also, what I was going to show you. You can always adjust your composition. For example, if you need additional elements, I'm just going to show you a couple of tricks that I sometimes use when I create compositions. One of the tricks is coping and pasting parts of the illustrations. For example, I really like this leaf on top of the strawberry, so I'm going to go ahead. This is my whole strawberry. I'm going to grab the selection tool. I'm going to stay on the free hand mode, and I'm going to carefully outline this part of my strawberry, and I'm going to copy and paste it. There is this function, copy and paste, you press it. Now you have these two or three rather separate leaves, which you can place somewhere else as a part of the composition, which you can reduce the size of. Maybe some leaves will be sticking out from here. That's one way, exactly the same way you can copy one berry going to quickly show you what I do sometimes or a couple of berries. Free hand selection, copy and paste, and you just drag them around, maybe reduce the size. I wouldn't worry too much that it looks too busy. I think it looks good. And because there are obviously endless options you can design with your elements, I would group the elements of your composition together. Because obviously you can see that I've not used all the elements and I'm going to duplicate it, switch this group off as a backup because I might just rearrange and reuse it and I will flatten this composition, and now it's ready to be added to my teapot and the teacup. Let's see how it's going to look. For that, I'm going to swipe and copy and I'm going to go back to my teapot and the teacup. You can create backups, of course, in case you would like to try some other colors, for example, instead of blue, you might want to try dark red, and that's why it's important to keep the separate layers in case you want to change something. I'm going to duplicate, switch the backup copy off, and I'm going to flatten my teapot and I'm going to flatten my tea cup. Just don't flatten them together. I think I'm going to reduce the size of the cup so it looks more in combination of the teapot and what I'm going to do, I'm going to place my newly created composition on my teapot and I think I'm going to create a simpler composition for the teacup just so we don't repeat itself, but using the elements from my main composition. Bear with me. You'll see what I mean. What I'm going to do I'm going to go back to my composition that I've just created and flattened. I'm going to swipe three fingers. I'm going to select Copy. Then I'm going to go back to my canvas with the teapots. And I'm going to create a layer. However, I think it would drop off anyway properly. I'm going to swipe three fingers and I'm going to click paste. Let's switch the teacup off to make sure that our composition sits nicely on the teapot. Let's just adjust this composition teapot. I think it looks great the way it is, but you can always try and experiment with different blending modes. See I'm changing the blending modes, and actually, some of them look very, very nice. So I'll leave it up to you to decide which one you would like to use. Wow. Uh, Oh, that's quite nice, isn't it? Look at that. Why not? But I would like to keep it nice bright and summary, and I'm just going to keep it on normal blending modes, and there you go. The teapot is ready. Now let's create a simpler composition for our teacup. Let's go back to our document where we've created the main composition. This one is flattened, so we're going to switch it off. And let's create a new one using the same elements. So because strawberries are the heroes of our pig of our design, I would keep them. And so that's our strawberries. And let's switch the rest off and see what we can do. I'll just keep half catch strawberry, and I'm just going to maybe add some leaves. And maybe a little bit of black current just to add this extra color. Keep in mind the shape of our cup. So it's more sort of like elongated a little bit. And I'm just going to play around maybe with a sleeve. And that's just as simple as that. I'm not going to overcomplicate it. I'm going to group these elements. I'm going to duplicate them, switch the backup copy off, and I'm just going to flatten it. Swipe with two fingers. Copy. And let's go back to our teapot and teacup, switch the teacup on, swipe three fingers and paste it, and let's adjust the size the size of it. And there it is. Now we've got teapot and the teacup composition that you can use for your illustrations, designs, stickers, and many other things. 14. Final Words: First of all, let me thank you so much for staying till the very end throughout the whole class. And especially I think those who created illustrations and who are about to upload them on Skillshare. It is always so rewarding to see the result of your beautiful work and your effort. I would also like to thank all of you for your support, for following me, for creating art with me, for tagging me on Instagram. You have no idea how much you inspire me and how much the soul keeps me going. And making me create more and more lovely classes for you in procreate and hopefully in mixed media, too. I hope you enjoy. Please make sure to follow me on Instagram. Please use the hash tag very, very June, and see you next time. Bye.