Ink a Medieval Ornament in Procreate 5X

1. Presentation: Hi everyone. My name is Marissa Android is, and I'm an alien strata based in London, UK. In this new course, we're going to learn how to incur medieval inspire ornament in procreate 5X. This is a very straightforward class ideal for beginners and intermediate students who want to understand how to Incan illustration and then take that knowledge to the next project. We're going to use only one simple default brush. So everything that you need is already at your fingerprints, including a pencil drawing if you want to follow along. In fact, if you watch my other courses, there are always provides students with a drawing. So you can decide if you want to concentrate solely on the painting process, on your own drawing, and go for the full learning experience. Starting from a historical context will explore where these ornaments were used and the different styles in which these motifs have been depicted throughout history. After importing the drawing and setting up the canvas, I'll show you how to create an outline first and then a stands on. Next. Is they inking phase, which involves the DC link of this ornamental strip. We're going to learn how to modulate the strokes in order to get a stylish decline. Lastly, we'll explore a few ideas for creating some physical products, such as imputations, bookmarks, Wash U tapes, and other findings. At the end of this class you will find for assignments that I would love you to do. You can decide which one is right for you, but please make sure your show you our work in the student gallery for some practical advice and reviews. So if you interested in learning a very classical technique, this is the course for you, but without any further ado, let's dive into it. 2. Historical Context: In this class, I will guide you through the creation of a classic ornament if you follow it my ADA courses, you already know that I have a great passion for all books and manuscripts and taking this progression from them, we're going to create one of those ornaments that could easily be found at the beginning of a chapter. The ornament I'm talking about is called head piece or chapter opener and Boise Exactly. I had pieces and decoration, usually in the form of a rectangular panel printed in the blank space at the beginning of a chapter. They enjoy particular popularity during the Renaissance and they actually been around for much longer since the Middle Ages. So these are some head pieces, and as you can see, they're all positioned at the top of the page. And according to the periods and places of origin, head pieces are depicted in a variety of styles. Sometimes these whole elements were also used in other parts of a book, for example, as a chapter divider, as we can see here. Generally speaking, they are typically populated by Flowers and foliage, but also fruits, garlands and ribbons. And in the middle of the ornament, we can normally find a subject that can be a code of arms and mask and mythological figure, and maybe a triumphant, a marina with assault. And another one firstly, drumming along to the oligarchic bits while sitting on a dragon in your spare time as opposed. Without digressing too much. I just want to name a Renaissance artist who implemented the use of these kinds of ornaments into his work. And his name was cabinet rebelling. Calorie value was an exceptional artist who developed a distinctive personal style, identified by its characteristic use or decorated motifs. We can see some of his paintings here. Right, going back to our head piece. Now, for our head piece, we're going to create something with this lively modern look. And in our design we have a subject in the middle, which is destroy me out peacefully resting upon some leaves and fruits harmonically finding a space along a branch and two identical flowers at both ends. So in the next lesson, we are ready to set up the canvas by importantly drawing. 3. Getting Started: The first thing that we want to do is to download the drawing for this class and imported into procreate. A very straightforward thing to do. Let's see how we hear on the about page. You can find the description of this glass and you want to go to projects and resources. Here you can find your assignments. There are four of them, do them, but to download the materials for this course, you want to go up here, you click on drawing dot PSD, then you click on Download, and the file is going to be saved on your iCloud drive. From here, you have a couple of options, but you can seem to launch procreate, click on Import, and navigate to the Downloads folder and select drawing dot PTSD. So the document is now set up. We have to drawing on one layer. And in the background here, you might have seen a brown pay by earlier on. And if you like this kind of background papers, you can download a collection of files for free. If you connect to my Instagram account, you can do it from your iPad. Click on the link and beer. You can find my print shop and the links to my other courses. Or you want to go to the bottom of this list and click on free download or five tone papers. So you click on it and you land on the download page. So you can see the five Don papers here and also some examples. So you feel these two fields and you receive a download link, right? Having said all of that, these would be our starting point. In the next lesson, we're going to start inking the ornament by making an outline. 4. Making the Outline: In this lesson, we're going to create an outline. We're going to use the technical pen with a streamline value to have Airlines smoother. This is our ornament. Basically we have the pencil drawing on this layer here. And the first thing that I want to do is to reduce the layer passages to be something around 20% or anything similar. And the reason is because we want to keep the drawing not too visible. So I am going to create a new layer. For this ornament. We're going to use the technical pan, which is under the insulin brush library. If we click on the technical pen and then we click on the drawing pad, we can reset all brass settings. So we are sure that we are all starting from the same point. The only setting that I want to change is the streamline value. I want to increase this value so it's going to be easier to get a nice a stroke. And you can increase this as much as you like, really, maybe not too much. Otherwise there's a bit of delay, something around 45% or maybe less around 34%. So let's try with 54%. Basically this brush create something like this. And what we want to do is to reduce the brush size to be around maybe 5, 5% percent will create something like this. Okay, we can undo that by tapping with two fingers. And what I want to do is to create a stencil first. So I want to create the negative space. I'm not going to pay in the elements as yet, but all of those empty spaces. So this is what I want to do. First of all. So I'll make sure I'm painting on an empty layer and not on the drawing, which happens frequently, to be honest with this brush, I'm going to create the perimeters of these shapes. So I'm going to follow the outline and I have to make sure that all the shapes are closed. And that's very important. I move to the second shape and then close the shape. Now I'm going to make this outline here. Basically once we create the outlines, we can then fill the main weed some black color. I just want to say that I'm not after something perfect in terms of lines. Like if it was a vector logo. So if your line is a little bit warbling is absolutely fine. We kind of trying to replicate an old print, but if you've been there, you are struggling too much. You can increase the streamline value. But again, for what we do in this sort of irregular line inspiring, highly mind that practicing is very important. And generally speaking, we don't want to use technology to compensate the fact that we are not able to do something. It's very important to learn and then use technology to make our life easier. Than I close this shape. I can now do this. As you can see, I don't make one line in one go if he make sense. But my line is composed by many shorter lines. For example, here I'm making this circular branch framing this owl. And I want to make this line a little bit dynamic. So it's not a steady line based kind of moving a bee, dancing and curving. And all of these aspects give the illustration, this feeding of handmade products. Right? So this is the principle. I'm going to speed up this process lively. Otherwise the class gets too long and can be a bit tiring to watch. I'm not going to talk over this process as is very straight forward. You can speed up the video using the plane that setting. How we stopped talking again when I approached the flower has I'm going to use a specific technique. What we want to do now is to create a new layer, is we're going to approach these flower here. For this flower, we want to make sure that this side is going to be the same of that side and also of this side here. Basically, in order to do this, we can activate drawing guide. So we click on it. And then added drawing guide. And you have a few options here. There are different kinds of guides and functions available. And we want to use symmetry. And again, you have a few options here. But what we need for our purpose is that circle. And we want to move the blue dot to be in the middle of our flower. So we moved the dot here, something like this. And we click done. Basically we have a guide now here, and you can see that the word cyst has appeared on the working layer. And if you click on the firm now, you can see that the option is checked as you might expect. Now if I draw something on the right hand side of the guide, the same thing we magically appear on the left-hand side and vice versa if functions as a mirror. And I just want to make sure one and the correct layer. And for the time being, I just want to draw the arrows have line are not going to make the internal paddles as yet. So I start from the center. And as you can see, the other side is also forming, according to warn doing. And then I can close the shape. So this is our flour. We need to fix this. So I select the layer underneath and we can simply fix that and erase this bit. I probably want to choose a solid brush, which is too big. So I reduced the brush size and get rid of this, right? I think I'm going to erase this and redraw it on the other side are attached to the other flower. I think it makes more sense. And the outline is now done. I can now design both the symmetry function. So I click on the feminine and deselect growing assist and also disable the drawing guide. So this flower is going to be duplicated there. So we just don't think about it now and we live it for laser. I can now merge these two layers together so you can pinch them. We're going to create a new layer as a way to draw this line here. And here. I don't want to use this function that makes perfectly straight lines. So if I draw a line and then you hold them, wait, the line gets straight and if you point a finger down is perfectly aligned. But I'm not sure that's a good decision as we look to perfect compared to what I've done so far. So I probably want to draw the line by hand, by again, if you are more comfortable, you can use that technique, but at least you can try first and see how it goes. To save some time. Now, I can duplicate this layer by swiping left and do duplicate switch to the Transform Tool. And here you can activate snapping. And both of these functions are quite useful. So when you move, an element is going to be constrained along the axis and then snapped them. If you tap outside the element, you can basically move it by fractions. We can now emerge all of them together. So we have the outline on one layer only. We need to resolve this area. But for the time being, I think I can just make a straight line to close this tensile. So I draw the line, then wait for a second, and then puts a finger down to constrain the line vertically. And I can do the same for the other side. And lastly, before we move on, I want to extend these lines up to the side because once again, we need every shape closed. We can merge these layers together. And finally fixed this little branch. And we're going to solve this area later on. So in this lesson, we have learned how to create an Ink outline. We have used the technical pen to do that, opting for a bit of streamline value that makes our lines mover and motivations. We wanted to make sure that every shaped where closed or watertight. And this is because in the next lesson we're going to create a stem. So meaning that we're going to feel with a coulomb, these shapes, pretty straightforward, pretty simple. Let's do that. 5. Making the Stencil: In this short lesson, we are going to feel the shapes with a black colour and create what is generally called as tensile. Once the outline is completed, then we make sure every shape is closed. We can feel the negative spaces of these our work. And to do that, we're going to use the color draw. So we dropped the Calla button, wait for a second until he feels the shape and then slightly dropped depends or to the right and then release it. You jump to the right to activate the color dropped threshold. When you do that, the color will bleed into the outlines. So we're a 100% sure that every pixel is affected by it. If you drag the threshold too much, the whole composition would be affected. So you just need to do it a bit. And this is in the stands who is now completed. So in this lesson we have learned how to use the drop and the structural feature to feel the shapes and create a stem cell. In the next lesson, we're going to paying the details by inking using exactly the same brush. 6. Inking the Ornament: In this lesson, we're going to paying the details of this ornament using the technical plan. What we're after is a series of strokes that harmoniously define the volume of the elements. And in a gracious manner, we want to create a pleasant declaration. Okay, well, we want to do now is to rename this layer into stem. So create a new layer and rename it into ink. We make sure we have our technical pen selected and increase the brush size to 5%, so slightly thicker. And what we want to do now is to pay in the Intel new lines, something like this. But the main difference compared to before is that we want to apply less pressure at the beginning of the stroke. Then increase the pressure around the middle part of the line and release the pressure again. So we have this tapering effect. So if I start from this leaf, I can start from the outside. So it's not going to be visible. Apply the pressure and then release it. Same thing here. It might be something that you need a bit of practice, but it makes a huge difference in terms of style. As you can see, the result is more pleasant and gracious. I'm following this method. We're going to approach these lines in this matter. So you press and release, your press, release, press and release, and so on and so forth. Now, the midline, so you press and release, and along the line you present release again so you can see that the line is more dynamic and I'll do the same for the upper line. Now the, a, pretty straightforward if you think about it, rather than rewarding in terms of results. Now I think we can stop detailing the inside. So we are adding some lines and some details. We approached these in the same way. In this case, I want to follow the shape of this AFM. And I will have to think in a three-dimensional way and create these lines. Also, you can break up the lines so that creates a nice effect. Then this little branch and the midline here, then the leaf. So you want to press and release and pressing grilles and you're going to get used to it pretty quickly. Again, that the bay you just need to try. If you've been there, you made a bad line, you can undo that and try again. Then I'm going to draw this little leaf and treaty in the same way. I'll do the branch here. And now we're gonna move into the main branch. And branch. And some lines along the body of it is quite effective. I can do this little tweak, just a couple of lines. One is used more. You don't want to have too many details, too many lines. You kind of want the same treatment throughout the composition. So let's do the flower now. We're not going to use the symmetry tool is we don't want to have something perfectly me, right? I want to include some randomness in our design. So we, he'd be hand-drawn. If you think that you want to use symmetry, you can use it obviously. So following the steps explained before, you can save some time. So I'm going to make these lines breaking up from time to time. And I'm going to treat these flower in the same way. Which is the ground. Instead of making say, I can do this wavy line. I'm going to hide the drawing becomes less distracting. And we can continue on and increase the level of description. And again, not to do. Now, I can show that drawing again because I want to pay this little fella. I can start from the eyes as he always my starting point when I draw paying faces. I can do the same for the other eye. And the area surrounding the eyes, which have learned is called facial days. We want to simulate the presence of some feathers, so it gets a bit fluffy if that makes sense. Now the beak, mice and simple. And some lines around defining the facial these you want to follow the roundness of the phase lines from the window. And now we can approach the lower part of the Zao, which is in the middle of this ornaments, all alone has in fact, ours are pretty much solitary animals. They have some amazing documentaries about them. And the very special hunting techniques apparently is one of the most cited beds out there. And I remember there was a documentary from BBC a few years ago that show you these flying technique. And basically they are incredibly silent. And I'm sure you can find it interesting to watch. Now the legs and the clothes and the other leg. It's now time for the fact is that the breast and the value of this cute here. You want to play a little bit with depression. So you can see that the tee shot, I am crushed by me. What we can do now is to differentiate the Fed is so we can draw the lines and then on T1 and T2 shoulder strikes next to them and family the position so we get this run. And also the lungs can be and then you can probably out some details on the legs and the close up too much and just a few lines. We can do the eyes later on. I just want to this branch here. For this secular branch you want to imagine to follow the five is so you want to break out benign from time to time. Then I can do the other half of an Italian. Typically rest. Why is cold? And that's enough, I guess. We can try to yes, that's Luke nine, so I can do the same for the other side. I can erase these. And honestly you ending when now is normally are approaching towards the end we almost finished. I'll do this little leaf here. And the branch here, we're going to fix this. I just want to now the same thing here. And as I did before, I went to follow the roundness of these fruits. Let's start from the very end. Now, these fruit, this could be a berry, and the fruit next to these could be a cluster, read current, or a grape. In this kind of ornaments scale is not really respected like in this case, the hour is not obviously to scale to the a hints or the leaves. Now the black or direct currents or the grape, simply small circles. We have some in the foreground and the ones in the background where we see a portion of them. As before, we want to have some very short lines that we want to see me lady reflections that we want to follow this spherical shape. So maybe not all of them is good to differentiate from time to time. And lastly, we can d to be especially the off the shelf that keep the fruits in place. So I'm following the roundness off the shelf, breaking up the lines on the way up to the store. Now these same men trying to get the same amount of detail. And finally, this one here. Basically the strip is done. I think we can now add the eyes do our cutie pie. And I'm going to hide the drawing. I want to create now a new layer and rename into frame. I'm going to increase the size, little, maybe something like this, something around 50%. And I'm going to make a line holding for a moment until it gets straight and placing a finger down to constrain it to the horizontal plane, then I can probably duplicate the line and flip it horizontally. And this is because the line is started thinner because of the tapering effect. So if I flip it, the fitness is not consistent. Or we can do. Now, we go back to the original brush size which was 5%. Maybe on a new layer. I'm going to break up the uniformity of these nine so the design would be consistent. And I'll do the same for the part of the line. We can imagine these two lines. Duplicate delay, activate the Transform Tool and moving down using snapping to constrain the object, then you can top up five to move it just a baby. And this is if we have our ornament done. So in this lesson we have learned how to Incan illustration using the second bull pen. And this type can be applied to any outward that requires such as treatment. In the next lesson, we are going to mirror the ornament and resolve the flower at the other end. 7. Mirroring: In this lesson, we're going to flip the artwork and copy the flower on the other side of the argument. The first thing that we need to do is to duplicate the our work. So we go back to the gallery, swipe left and hit duplicate. We open up the duplicated our work. We can merge the frames. Moving down and match it with this tends to layer. So we have the standard Sue ending. We can get rid of the drawing as we have saved copy on the other hand will want to do now is to make the work longer, you need to click on crop and resize. And you can pull the left handed off to the left so you can make the slightly longer. Then I want to make a rectangular selections slightly bigger than the entire composition. So I can incorporate that entirely and create a new layer, switch to white and hit field layer. So these functions fields the layer with the color that we have selected. Then I can move this newly created layer underneath the ornament. And just to make it more evident, we can change the color of the background. Now I want to duplicate these three layers. So I swipe left and duplicate, move them. So we end up having two sets, basically identical. So it's 123123. At this point, I select the white base swipe, right? This time to allow multiple selection, activate the transform to flip delay horizontally. And where you want to do is to slightly reduce the opacity of this layer so we are able to position the flower in the correct place. Now again, we can re-select them, switch the transform tool and move the layers. We, it's not pin, which is easier. And we can move it until you basically, you can see that this little guy is slightly apart from the eighth in something like this. Then again, you can tap outside if you need some minor adjustments. At this point, where you want to do is to erase everything else but this flower. And to do that we selected selection to switch to free hand is time. And we want to make a selection paying particular attention not to include any subjects. Now you want to close the selection. We select the stance to layer. Click on the thumbnail and hit Clear. And this will erase everything that's inside the selection. Unfortunately, I'm not sure if this is a bag of something, but it's not possible to keep a selection. So now that I want to delete the same portion on the ink layer, I will have to make another selection again. And to be honest, procreate is absolutely great for painting, but it's a bit fiddling for anything else like rotating and transforming elements are anyway. So I'll do that again. And I do clear. Now I can set the opacity back to a 100% for these two layers. Move the white background at the bottom of the layer stack. I want to decrease the opacity of this layer now. And with this layer selected, I want to do exactly the same, Create a selection. And then clear. If announced that new capacity of the layers back to a 100%, I can see that I've got something to fix memory. So I switched to the technical pen and fix that. Same thing for these lines. Instead of auditing and fix them, I can use the eraser tool. Probably reduce the size accordingly. And then switch to the technical plan. We can say that the ornament is now done. I can hide this bluish background so we can have just a strip. So in this lesson we have learned how to mirror and then fix the ornament. In the next lesson, we're going to see what we can do when ministration of this guy is completed. 8. Applications: In this short class, we're going to briefly explored the possibility you have when an illustration is done. Ok, right, now that we can say there are ornament is completed, we can decide what we can do with it. In my other course, learn three water collector connexin procreate. I already showed our illustration can be potentially used. So you could frame it or create a pattern, or even lies in your illustration using some print on-demand companies. So let's have a look at some practical use of these ornaments. First of all, I'm probably the most straightforward method is to simply change color of the ornament and get any image that you can use whenever you like. You can add some texture to be Inc, or you can get a negative image. Like if you're always a Linac hearts or wooden stamp, you can implement your head piece if you planning to print a text and you need an ornament. And here you can see out of his head piece would work on an antique book. You can print cards, invitations or envelopes. Or maybe you can even create stump speakers using one of the main companies online. If you get pattern, you can never wallpaper at once you have a pattern, you can even bring your design on a washing tape. Why not? And finally, you can create a bookmark. Extremely simple thing to do. You just print off the hat piece on printing paper. You then blew it on a feeder paper. And then with a three mm, you can cut this to size. And this is it. In the next last lesson, there's a class project, and I would like you to participate by uploading your artwork in the class project gallery. 9. Class Project: In this course, we basically learn how to make an ink illustration, taking some head pieces as reference. There are so many styles there can be used when he comes to inking. And here you can see a difference dies in this illustration that I did many years ago. In my other course, learn 15 easy painting techniques in procreate, I went through different kinds of inking techniques. That inking in this case, as a second rule, it is used more to support or reinforced the paintings. He also here in this water column, magnolia poets, or maybe in this plant here where the income is used in a more traditional way. Talking about traditional art, one of the greatest actors from the Northern Renaissance, Albrecht looted, do read was a German painter and printmaker who created an extremely vast number of works, including engravings, drawings, and paintings. Like this beautiful hands. You can see the splendor and the solemnity of these two hands joined in prayer. Adam and Eve, where you can see these two innocent fingers embraced by a dark forest in the background. Or the Scott of arms, where the artist skillfully created are more ornamental composition around a run pens lion on a shield. So there's a lot to learn from. Albrecht Durer, have very enigmatic figure of the past. Right? So we have arrived to the class project. For this class assignment. I fought there. You can choose between three or four exercises and that we do all of them. The first one is to say, my drawing days included in the project and resources and aren't your inking work to it? So you will actually follow my steps every created his ornament. You can be done in the style that I used. Who maybe you can do it in your own style. And the second one involves a more creative approach using the guidelines provided as reference, you can use symmetry and instead of having an hour with leaves and fruits, you could have something else. Our skull with a snake, one mask with some butterflies or flowers. And if you like it really, the feather assignment is to ink just an individual subject. So it doesn't have to be part of an ornament, but you can be just an Incan sketch, one more than the fine drawing. And the last assignment is to create one of the things showed in the previous video when we are bookmark and invitation or sticker or anything you like. Whether your choice is one of the exercise, please participate and then share your artwork in this class channel because I would love to see what you come up with. Bear in mind that the goal of this class project needs to practice just that practices the secret to making progress and also would say studied the old masters IS also very important to share your work so you can receive feedbacks in comments from me and other students. And as a community, we can grow together how you can become a better artist. In the last lesson is a quick recap of the entire class. 10. Recap: And here we are. At the end of this class, I'd like to summarize briefly the steps explained in this course. We started from a drawing already made, but these workflow can be obviously apply to any design. Then we made the outline using the technical pan and we made sure each of the shapes were closed. We feel the shapes using the color drop function by activating the color dropped threshold by dragging left or right. We painted the details again using the technical pen, modulating the lines by pressing and releasing in order to get a dynamic line. We may wrote the ornament and obtain the flower on the left and completed the artwork. Lastly, we briefly explored a few obligations when an ornament Of this type is completed. Maybe in the future we'll create a new class and show you how to transform these ornament into a fully colored one. But for the time being, thank you very much for watching. You can find me on my ISA rampage at Madrid, Sudan juries. Or if you're interested, you can watch my other courses. See you next time.