Inky Maps (Procreate Edition): Illustrate an Analog-Inspired Map on Your iPad

1. Class Trailer: Hey, Procreate users. Seven years after creating my original Inky Maps class for Photoshop, I finally have one just for you. This is Inky Maps Procreate edition. Map Illustration is an in demand skill that will give you a competitive edge as an illustrator and hopefully as a human illustrator for a long time to come. In this class, I'll show you how to achieve an analog inspired illustration style using Procreates included brushes and a few custom stamp brushes that you create by hand in physical media. You'll learn how to design a beautiful, illustrated map from ideation to final art. This class is packed with details about my tools and decision making process. If you want to create illustrated maps, learn Advanced, Procreate techniques, and combine physical media in your digital art, this class is for you. Please join me in Inky Maps, Procreate Edition on Skill Share. I'll see you in class. 2. Class Orientation: This class is all about how to create beautiful, retro inspired illustrated maps in P create. Our goal here is to make them mostly digitally, but for them to look like they were made in a different time and using non digital techniques. By the end of this class, you'll have created a map of your very own to share on the class projects page and perhaps on your portfolio or social media. This is an updated version to my aging but popular class inky maps, where I show you how to do all of this, but instead of procreate, I teach it in photoshop. For this class, we're going to start with a quick overview of my approach to illustrating maps, and then we'll get right into the project. Strap in though, because it's a long class. We go very deep, and there's no way around it. We're going to get very technical. In terms of experience, I recommend this class to those with intermediate level skills in Procreate, simply because there's a lot to cover on the more technical side of things, as well as in the planning part. So if you need to learn the basics in Procreate, I recommend Lisa Bardos, kickstart your creativity with Pro create, or for less of a deep dive, try her 35 minute intro to Pro create on YouTube. She also has a wonderful class about map illustrations right here on skill share, which might be up your alley as well. That being said, in this class, if you follow along, you'll still learn how to plan and sketch for an illustrated map, as well as what creative decisions to make later on, regardless of what tool you end up using to finish it off. By taking this class, you'll learn how to use procreate to design a custom analog illustrated map, including how to make your own textures and marks with physical media and how to make your own custom stamp brushes. How to plan a map from ideation to sketches to finished art, how to come up with your map idea, and even how to use chat GPT as a powerful brief generator, how to use Google maps to plan out your initial map, how to illustrate things in your own style rather than just copying reference images, working in a limited color palette, you'll learn some tips in hand lettering and, much more. To take this class, you'll need an iPad with procreate and an Apple pencil. You'll also need some physical media, including India ink, block printing ink, a ni pen, paint brushes, a sponge, a brayer, and some white sketchbook paper. You also need a glass or plastic surface for loading up your brayer. Of course, don't forget a glass of water for cleaning your brushes. To scan your inky marks, you need a scanner or at least a high quality camera and a way to keep it steady and well lit. As you shoot it. We'll be doing all digital art in Procreate, although I will be scanning my inky stuff on my mat. You're free to follow along and make your own resources, or you can just download mine. That includes the color separation groups file, the textures, plus custom brushes. All of these are available for download on the class projects page. You won't need any third party brushes, you won't have to buy any extra brushes. Everything you need is already included in procreate and in the class downloads. There are many deliverables to check off along the way to the final map, and I'll guide you through them all. For a complete list of deliverables, as well as a written outline of the project, please check out the class projects and resources page. This is a really big project, and there's lots of different parts to it. And because of that, it will likely take you more than a day to complete. So I just encourage you to be patient and to pace yourself. Now, I've included in the class projects page a timing guide, which is basically a schedule to help you know how to divide up your project into more actionable chunks. Again, you can find that on the class projects page. Be sure to share your work on the class projects page. This is the best way to get feedback from your fellow students, and of course from me. Now, feedback is such a great way to grow and to know what to do next if you're stuck in your project, and one of the best ways to get feedback from others is to go and give it to them first. Of course, seeing what you make is always the most rewarding part of my job as your teacher. Please share your projects and please share on social media, and you can tag me at Mr. Tom Fos and use the hashtag in K maps for P create. Oh. 3. The 7 Elements of Inky Maps: There are seven key elements in illustrated maps, and in this video, I'm going to walk you through what those are. So I'm just going to head over to a little slide show I made for you. This is a map of Seattle that I made, and I'm going to use it just to show you those seven elements at play. So the first element is geography. So Geography really is just where the land and water meet, but it's also terrain features like mountains or forests or deserts, whatever defines the quality and character of the land itself. And what you're looking for in an illustrated map is a way to actually just create a base for your map. What is the surface of everything else that is going to be on it? In this particular map of Seattle, I was able to define the shape of the land by the contours of the coastline. If you don't have a coast line, you might have other things like mountains, like I said, or forests and that kind of thing. But you might not have any other defining characteristics of the land. In which case, maybe it's just a solid background color, or maybe you have to rely on things like roads. That's perfectly acceptable as well. The thing that you can use to define your land are borders. If it's a state or a province or a country, it's going to have attachments to other countries, and some countries are identifiable simply by their political or geopolitical borders. Almost every American state, for example, is defined by the shape of the states around it. The next element is routes. Routes really could be anything. Usually it's roads, but it could be paths, trails, it could be train tracks, public transit routes, it could even be flight routes. Especially when you don't have a lot of geographical details to go by, roads or routes can really help give your map a sense of structure and place. The routes or the roads will also help give your places, your points of interests, and cities, a sense of connection. How are they connected? How would one get from one to the other? Now, it's not really about helping people navigate from one to the other. I wouldn't recommend using an illustrated map to get driving directions, but it can give you that sense of proximity. What are things located near or how far are they from something else? The next thing to include in an illustrated map, of course, is labels. Labels are, of course, just little pieces of lettering that help identify what things are on a map and in any map, lettering or labels is very important. Now, I want to point out two important things about labels. The first is that in an illustrated map, you really should try to hand letter everything versus using a font. It's not against the rules, Cuse font and I have used fonts in my maps in the past. But I really think that that's a missed opportunity most of the time. This is an inky illustrated map by hand and the best way to make it look more handmade is, of course, to make your lettering by hand as well. The second thing I want to point out about lettering is what I will call typographic hierarchy. Typographic hierarchy is basically a way of using different styles and sizes of your lettering to indicate certain things on your map. As you can see in my map here, I've used italic CAPs Seraph lettering to indicate the waters. All the water has that same style of lettering. Then I have the different neighborhoods like Queen Anne and downtown and Columbia City. All these are also indicated with a specific lettering style and mostly at a certain size. In the bottom there, you can also see that I've labeled some of the road names down there. The other roads here are highways or freeways or interstates and these are indicated with little numbers inside little badge shapes, and those are actually cartographic symbols, and we'll get into those in a moment. Of course, one of the best things about illustrated maps is the icons. Icons are little tiny illustrations that call out certain points of interest on the map. Our project, we're going to be including at least five points of interest, illustrated as icons. Here you can see in the Seattle map, there are a few more than that. But they really give the map. It's life. It gives you that sense of story, like, what is this map about? What is it calling your attention to? Here, because the map is actually for a flight magazine, it's really just calling out the character of Seattle as a city and what the variety of different cool things to see are. In Seattle. Now, one of the things to pay attention to with icons is that they should be fairly simple. Although these have varying levels of detail in my example here, they're all relatively simple compared to what they're actually depicting. For the tower in the middle there, for example, that's a very simplified version or representation of that tower and I haven't shown anything surrounding. Now you have the building down to the lower right of it, and that is a much more detailed building than I've, you know, let on in my representation here. And of course, it's surrounded by other buildings. I've just gone and made those details very, very notional to make sure that the focus is on that one main object, that building. So next, we have the cartographic symbols, and these are the little smaller illustrations that really make a map look mappy. That would be things like the root numbers in these little circles or badge or shield shapes, or the trees or the waves in the water or the little tufts of grass that I have in certain parts of the geography there. Now, whether you're into illustrated maps or actual maps like Google maps or road maps or something like that. One of the things that makes some cool is that they have all this information shown as little symbols. In an illustrated map, you want to bring those in. They not only tell you some information about the place, where forests might be or where the water is, but they also bring texture to the map that of course, makes everything just look more tantalizing and interesting. So another key element in illustrated maps is, of course, the Compass rows. Not all illustrated maps have this. It's not always necessary, but it is a nice detail to add and it's an opportunity to get a little bit creative. In my maps, I usually keep them pretty simple. In this example, I just have an upward pointing arrow with north set inside of it. I felt that stylistically, this fit in with everything else that was going on without being too overwhelming, but also it added this cool extra little ding bat that I like to see in maps. One situation where you're definitely going to want to include a compass rows is if in your map, North isn't directly up to the top of the page. For instance, if you rotated whatever you're mapping and North happens to be over where West usually is, in that case, definitely have a north pointing arrow showing people that North is actually in a different way than they might expect. Finally, we have a title. Of course, a title is a way to identify the map for people who might not know where it is, especially if that map is not shown in some other context where it's obvious or clear what they're looking at. That's when you're probably going to want a title. Now a title doesn't need to be super elaborate, it doesn't need to be fancy. It just needs to stand apart from everything else in the map and be legible or clear. In my example here, we have just the name of the city, Seattle, and it's called out a little bit larger than the icons. Think about that typographic hierarchy that we establish with our labels. You can think of the title as maybe the biggest, most prominent element in that hierarchy. Now, where it comes to these seven elements. Only five of them are crucial and those are the first five. That's the geography, the roads, the labels, the icons, and the cartographic symbols. As I've already said, it's not always necessary to have a compass rows or a title, but both of those can really enrich the map if you can bring them in as well. So those are the seven key elements of illustrated maps. These are what show up in my maps. Most of the time. Of course, every illustrator is different and they may approach these in different ways. As you can see, I even approach these things in different ways in my own work. But really, I think that's enough information to get you started. I think we can get going on the class project. We're going to start that in the next video. 4. Project Brief: It's time for your projects brief. Your job is to create an illustrated map of a favorite region or country or state, and it should be based on a specific theme that relates to that area. For example, if you'd like to illustrate a map about Cascadia, the theme might be something like cold water surfing. Your total or your whole maps theme and region could be cold water surfing in Cascadia, or it could be family road trip in the Canadian Rockies. The more specific you are with your place and with the particular theme, that will make the map more interesting, and it will be easier for you to know what to include in the map, including your icons and everything else. Your map should have five points of interest called out as illustrated icons, and then it should also include the four other core elements of an illustrated map, including the land and water or the geography, the roads, cartographic symbols, and of course, labels. You can also choose to include a Compass rows and a title, but those are optional. For dimensions, make your map 6 " by 8 ", and that can be either in the horizontal format or vertical format and make your Canvas at 350 DPI. Now, in order to properly do this project and follow along with me, you'll need to be doing it in procreate and using the inky techniques that I'll be sharing with you. In the next video, we'll kick things off by planning our map, and that includes choosing our region and our theme and those five points of interest, and I'll share some tips on how you can do that. 5. Choosing Your Map Theme: In order to start planning our map, we need to come up with a region and a theme related to that region. So I'm going to hop over onto my computer here and just show you some examples. So this is a map of the Dalmatian coast, which is a region in Croatia. And this is a perfect example of a map of a region. So it's not quite a country or a state. It's just this part of the land that is all related in some way. This one is related by virtue of being in a place called Dalmatia, and it's along the coast, the Dalmatian coast. So I actually just show you the map in its actual final situation here on the independent on their website, you can see that it's kind of interactive here and there are more than five illustrated icons here, but I still think that it's worth showing you around this particular example because it's a real example, and it perfectly illustrates what makes a good illustrated map. We have these points of interest that you can see. You have them labeled with these little black flags. So in this case, the points of interest are actually city or town names. And then I represented each one with this very simple icon Sometimes they get a little bit more detailed, but I try to keep it pretty simple. We have Troger here represented by this archway. Split is represented by this tower, Omis is represented by this old fort ruin, and maybe a more complicated or complex icon would be Putika, which is this little townscape with the tower in the middle. Then we even have a whole beach scene as a little icon here. But even though these are scenes, they're very simply rendered so that you don't get too overwhelmed by seeing them together in the final map. Those are the points of interest. You can also see the roads stringing together or connecting the different places on the land. We also have those geographical elements. We have the water, the coastline. The land. You also see a lot of labeling and these are all made by hand here. All the country name, state names are in this kind of white all CAPS lettering style, and all the location points of interest labels are treated with this little flag, and the water there there's only one body of water, but I've labeled it uniquely as well in this sera italic font. But it's not a font. It's actually my hand letter. In terms of cartographic symbols, of course, we have little mountains and a few trees peppered in here and there, really not a lot, just enough to show that these exist in this area. It's a mountainous area, and then there are certain kinds of trees, maybe palm trees closer to the water, and then more pine trees out in the mountains. I did not include a compass rose in this one, but I decided to include a sun because the theme of the map was about smmery, sunny stuff you can do in this very warm Mediterranean area. That sin could just as well have been a compass rose. I really like how they animated it there. The first step toward planning our map is, of course, choosing our region and our theme. I'll walk you through how to make some good decisions at this early stage. I'm hopping over here onto my iPad. I'll just write down two columns here. I'll have region on this side and theme over here, and we can do some brainstorming together. I've already used the example of Cascadia as a region. That also makes me think of the Pacific Northwest more broadly, which is, I guess it's a region that spans from Northern California all the way up to the northern border. You might have the French Alps. When I think about growing up, if I wanted to make something more personal, I might think about what we called Cottage Country, which was just north of Toronto where we have Muskoka or Haliburton, had some good memories up there. Those are some examples of regions. They're not as small or focused as a city, but they're not necessarily as big as a state or a country. Although I wouldn't totally write those off if that's what you'd like to do instead. Things really come together when you have a theme that makes things more focused for whatever region you choose. With Cascadia, like I used in an earlier example, it could be cold water surfing or just best surfing spots in Cascadia. Then your five icons would be pointing out or calling out what those spots are with illustrations. For the Pacific Northwest, I want to think of something else that would be appropriate to this part of the world. Maybe it's five biggest cities in the Pacific Northwest. Then you can call out each of those five large cities. Now for the French Alps, we had those best off pieced routes for skiing, something like that. It could be like five best backcountry ski runs. Then for Cottage country, I might want to make this theme more personal because it's something based on my own memory. Maybe it's Portaging in Cottage Country. And I could make that more specific because cottage country is quite big. And maybe that doesn't mean something to someone who's not from the region and uses that term to describe it. So maybe it's Muskoka, which is a lot more specific. And then we could just do portaging in Muskoka. Then I could think about five highlights of a portaging trip. Where would those be and what those look like? Those are just some examples to get you started thinking about what your region and your theme could be. It could be more universal, something that's not quite as personal, or it could be more personal, something that maybe reminds you of an experience you've had growing up or just a place that you love. Now, you can come up with your own region and theme in the way we've done here, just from your own imagination. But sometimes it's hard to know where to start or just to make a decision. And one fun way of coming up with a prompt for your map here is to actually use Catch EPT. So I have Chad GBT open here, and I have a prompt that I've written based on the project in this class, and I'll just paste it in here. And I'll leave this as something you can copy and paste in the class projects page. But here's what it says. It says, I'm an illustrator. Pretend you're an art director at a magazine, and you're reaching out to me with a briefs to create an illustrated map. So we're basically asking Chad GBT to pretend it's an art director client who's assigning us this project. So the map should be a better region rather than a town or city and should feature five points of interest as illustrated icons. So I'm just feeding at what our project should have, all those guidelines that we've already gone through. And I give it more specific information about that, give it some examples of what I mean, and let's see what it gives us. So I'll just quickly go through what it's spat out here and give you some tips and maybe some warnings as you do this method if it's what you choose to use. So the thing that you're really looking for here is what is that theme in that region? Then what are those five points of interest? Everything else in terms of guidelines and style pointers and stuff like that, you can take from this class. Here it gives us illustrated map of the NAPA Valley wine region. And then it gives you a little bit of an overview of what that looks like. Of course, it gives you a theme. The map should highlight Napa Valley wine region with a particular focus on its renowned wineries vineyards and picturesque countryside. Then it gives you a list of five examples of what those might be to call out as illustrated icons. Then everything else you can take or leave depending on how it aligns with this project. Now, my warning to you is that you really have to pay attention to the accuracy of what Chat GPT gives you, even though feels like a realistic brief to me. Some of the information that it gave me when I tried this before was a little bit off. The brief that Cha GBT had given me was called savoring NAPA, and it gave me these five points, including this Old Faithful Geiser. Then I just asked it specifically, how is the geyser related to the savoring Napa Valley theme? Then it said, you're right, Old Faithful Geiser of California doesn't fit perfectly with savoring Napa. It just re stated the brief and made a few changes, and it ended up with a nice set of points that I felt I could enter into. So you don't have to use the Chat GBT route if you don't want to. It is just a tool that we can use to each come up with our own unique theme and region and five points without having to overthink or worry about making all of the right decisions. Sometimes it's nice to let the computer do some of the thinking, and then we can just enter into the project. One other thing that I like about using this method is it resembles the experience of working for an art director, where you don't get to choose what they're coming to you for. Of course, we can ask Ca GBT to make some changes or give us some new suggestions for regions or points of interest if we're not satisfied with what it gives us. But in most cases, we're not able to do that with a real art director. I like the challenge of working to a brief rather than making up the brief myself. And so that's what I used for my own project in this demonstration. Once you've come up with your region and your theme, it'll be time to start plotting out your points in Google Maps. That's what we'll do in the next video. Oh. 6. Plotting Your Points in Google Maps: In this video, we're going to plot out our five points of interest using Google Maps, and this just really helps us start to plan the composition of our map. I'm here on my browser. I have Google Maps open on my desktop, and of course, you can follow along using your iPad as well. I just recommend that you use the browser version of Google Maps rather than the Google Maps app because some of these steps are specific to the browser version, and they're not available on the app. If you find that the app keeps trying to force itself open as you're following along, you can temporarily disable or uninstall the app and that will make sure that you stay in the browser version. In the top left corner, you'll see that little hamburger menu. You can just hit that and then go down to saved and then head over to maps. And then go down to the bottom where it says Create Map. This will get you into the create a new map area. Just hit Create if you get that little pop up box and you can start plotting your points. I'm going to start by giving my map a title. I'll call it Napa Valley Inky Map, and that will just make sure it's easy to reference later if I need it. And I'm just going to go one by one plotting of my five points. So the first point is Castello D Aerosa, and that will take me right to that point on the map. And all I have to do is click that little plus Had to map. And I'll do that with my second one, Oxbow Public Market. Just to add that to the map as well. Third one is I missed the second one there Sterling vineyards. Here it gives me a few options. I see Calistoga, Colona British Columbia, and there's a few others. I'm going to start by trying the one Calistoga and just pulling back to make sure that's in the area. I think that looks good. I will add that one. If you're working with the client and they give you a point that has multiple possible locations, of course, you want to be clear on which exact point your client wants you to include on the map. Once you have your five map points plotted out, you can zoom out so that you see all five of those. What we're going to do is take a screen grab of this map. What we're looking for is, what is the overall shape or orientation of your points? Mine are very clearly in a vertical orientation. This gives me a strong clue that my map will actually be in that vertical format. I'm also just looking around for some contexts that I can use in my map like there's a lake. I think the lake is going to be an important feature if I can include it. So I'll just see what zoom level I need in order to capture all these points. If I zoom in just one level, it cuts them out. I want all five of those in view. Then I'll just take a screen grab hitting shift control command four, and this will capture all those points. Now I'm here in Procreate. I'll just create a new canvas at the default screen size. Doesn't matter. I'm going to swipe down the three fingers and paste that Google Map screen grab here. So be sure to keep your original Google map that you just made handy because there may be times when you want to reference it for more detail, but hopefully we have everything what we need in our screen grab here and procreate. Now in the next video, we'll actually begin using our pencil to start sketching out our base map. 7. Sketching Your Base Map: All right, it's time to start sketching our base map, and we'll probably do our sketches in a few different passes or iterations. In this first pass, we're just going to be copying. We're basically tracing over our Google Map screen grab. I'm here in Procreate, as you can see, this is just the Canvas where I pasted my screen grab. I'm just going to copy that to my clipboard. And then head out to the gallery and create a new Canvas. We're going to create a new canvas that will be in the exact dimensions of our final map. So we'll just hit the little new Canvas icon there. I'm going to set my DPI to 350. That's just a reasonable output resolution that I would like to work in when working for a client. Then I'm going to set the dimensions in inches or the units and inches. That's just because I understand what an inch looks like versus what does a few thousand pixels look like, I don't know. I'll set my height to 8 " because I think that my map is going to end up being more in a vertical orientation, and my width will be 6 ". The reason that I wanted to set high DPI first is that if you try and set your width and height first and then you go and change your DPI, things can get a little bit glitchy and procreate. That's just what I found. Now, if you want to go and change of color profile settings and stuff like that. You're welcome to do that. Also, I usually work in S RGB and all those numbers that you see there. I'm going to hit Create. Will take me to my new Canvas. Right away, I'll just paste my Google map in my view here and work out a good crop of that. As I'm cropping this, I'm just making sure that all my points are nicely within the map area or the frame there with some room to breathe around. I don't want my points of interest too close to the edge. Maybe I'll leave about an inch or so of space all around. I'm also looking for what geographical features I can include such as lakes and mountains or roads, and stuff like that. It looks like I more or less have something that I think is going to work. I'm just going to commit that and start tracing over it. I'm going to set the opacity of this screen grab down to about 50%, and that will just allow me to see it without it dominating over what I'm sketching here. Of course, I'm going to start by just tracing in the Geography. I'm following the contours that Google Maps gives me, but also being a little bit Lucy goosey. I'm not getting every single detail. I just want to make sure that everything I'm representing in this map is where it should be. That's the purpose of this first stage of sketching. Those are my bodies of water. Next thing will be some roads. Now to do these roads, I'm going to choose a thicker brush. I'm going to head over to painting. This is a brush everybody will have. That's why I'm going to use this one. You don't have to buy any special brushes for this class. So I'm going to just use the painting flat brush and it's set at about 3%. I added a little reference tick there in my slider just to remember that that was a thickness that I liked. If you'd like to do the same, let's just say you're working in I don't know, 10%, which is probably fairly chunky. It is. But let's just say you like that size, you want to use it, and you don't want to have to set it or remember it the next time. You just tap that and then there's a little plus sign up in the top right of that flyout, and that will add a tick for that size as well. Okay, so I'm just going to follow these roads in the usual Lucy goosey fashion. And it just so happens that the detail in terms of the highways that this screen grab has is pretty sparse. It's not like there's a crazy amount of roads and stuff that I might encounter if I was doing a more urban area. I'm going to start just by including everything that I see, making sure that I get some of these intersections correct. Just for now. Those white roads are more minor roads, and I'm just choosing right now right away not to include any of them, especially since none of my points of interest fall on those roads anyway. Now I'm going to take the capacity of that roads layer back a bit. This is a good reason to work in layers when you're sketching a map out because you have all these layers of information, and sometimes you want to see what's behind one of them, especially as things start getting really detailed. So I'm going to just erase out of where some of these highway numbers are, and I'm going to just rough in those highway numbers just from my reference. I probably won't include all of these route numbers in my final map, but it's good to have them as reference right now. Of course, I want to go back to my pencil brush. I'm not too worried about the design of things at this point. I'm just sketching things in pretty rough. As long as it's somewhat legible to me, you can see that I'm just placing these route numbers right over where they are in the Google map and they more than likely will move once I start actually customizing this map in future sketches. In the next layer, we'll start plotting out our points of interest and those are, of course, these blue pins that I added in Google maps. I will just make sure that I label them right away so that I know which is which. I'm just referencing my interactive map, and I see that way up here is sterling vineyards. Remember that we're not worried too much about the design or how things look at this point. It's really just for reference. Now, it looks like my river ends right at that point of interest. So before I go further and I am distracted by that, I'll just extend that a bit. I also just want to make sure that the geography sketches there aren't dominating my view either. I want to see each layer for what it is. Once you've established your points of interest, the other thing we can do here on that same layer or a new layer, if you like, is maybe adding in some surrounding cities just to give a bit more context. If there's a point of interest dot at a given city, I'm not going to also have a dot for the city. I'll just put the city name there. And chances are because of crowding, I might even not have the city name there. It all depends on how things line up. Similarly up here with alstoga, I'm just going to indicate it with lettering without a dot because we already have sterling vineyards pretty much in that place. One of the last things to add here are some cartographic symbols. This goes hand in hand with geography where we have these mountainous areas. Just going to make my brush bigger there. We have these mountainous areas kind of coming down from the northwest to the southeast and Napa Valley kind of nestles between these ranges. So I'm just kind of roughing in with some shading here where mountains might be. I might just pull that back a bit, so it's not so dark. And Because the map that I'm going by actually doesn't have a lot of geographic information. I'm heading over to my interactive Google map here. You can change the base map style. If you're in this view, you can change your base map style to something like satellite view where you can really see what is physically there. So I can see that Napa Valley is a drier valley down here. Is a river that flows between these ranges, and then the ranges are these mountainous areas with trees. So I'm just going to rough in some mountain symbols here. It's nice that these follow a continuous direction, leading the eye down through the map. And that's one of the things I would recommend when you're adding mountain symbols or other symbols that are repeated a lot within a map is that they cluster in groups rather than just being evenly peppered throughout the map, and that just makes for a more dynamic and interesting composition. So even within these groups, I can group some of these mountains in more clusters. But also at this early stage, we're not too worried about being innovative or working outer composition. It's just something I'm thinking about a little bit ahead of time now. Of course, I want to add in some trees, and again, following that principle of not peppering them evenly, but clustering a few of them together. Whether you'd like to include more details really becomes a matter of opinion and what you like to see in a map, as well as what information really helps tell the story. What's interesting about this area in between these roads or in the valley here is that there are actual vineyards that criss cross in there. And I'm just deciding to leave those out. It just feels like it's a lot of detail. And I'm just looking for other possible things I need to add in this first sketch before I move on to the second stage of sketching. I forgot my water cartographic symbols. So I'll just add those roughly in there. Same with the river. This is really just for my information for now. I may or may not include those Once you're pretty sure you're done, you can go to your layers and actually hide or disable your Google map, and just take a look at what you sketched over it. I mean, already, this is looking like a fairly convincing sketch of a base map. My only issue with it is that it's more or less directly traced over Google Maps. As an artist, as an illustrator, I want to make that a bit more unique. And also for copyright reasons, I don't want to have something that's so close to my reference. So once you're done sketching out your base map in its first iteration, we're actually going to change gears and start sketching our point of interest icons. And the first step that we have to do on the way there is hunting for some reference images. And that's what we're going to do in the next video. 8. Finding Your Reference Images: It's time to start the process of sketching our illustrated icons. On the way to getting there, we need to find some reference images so we know what to draw. I'm going to head over to Google and just do some image searching. I'm going through my locations, my points of interest, just one at a time and looking for maybe a maximum of three reference images for each, and I'll walk you through what I look for in reference images. So you'll see that I have my iPad screen shared in the lower right there. And what I'll be doing is copying my Google reference images to the clipboard and just pasting them directly into a new canvas. So my first point is going to be Castello D amorosa. And right away, I see that this location is a castle. It's a castle on a vineyard, and that's very likely going to be what I use to represent this point of interest. The question is, what photo gives me the information that I need. So I have almost a total view of the property in this photo. And so I'm going to use that, that might come in handy. And I'll move on to some other views here. Now, what I'm looking for, besides just the right information is, what's going to be a simple icon? And what's something that I want to draw? Usually when I'm doing an illustrated map, I want the icons to be relatively simple because the map itself is complicated. So the more simple or the simpler an icon is, the more it will stand out against everything else that's going on in your map. So this seems to be like an iconic view of the chateau or the Castello. This kind of corner view, three quarters view with the olive trees in the midground, and then the grapevines in the foreground. So I'll include that. Honestly, I think I'm satisfied with those as my references. I'm going to move on to the next one. This one is the Oxbow public market. And there might be multiples, I'll just be specific here, NAPA. And so what I see here is basically a grocery store, and it has that distinctive roof line. So I'll at least grab an image of that architecture, but I'm going to keep looking for something hopefully a little bit more interesting than that. I see images of the inside of the market, and it looks like a beautiful market, but the problem is that there's no focus. If I'm trying to draw a scene of this market on the inside, there's nothing really to focus in on and represent as a simple icon. Also, it doesn't look very unique. This could be any market anywhere in the world. We have a market that looks similar in Vancouver. I'm looking for something perhaps a little bit more distinctive. As I scroll down here, I see this distinctive sign, right away, that captures materest, because I love these vintage style signs. I'm going to copy that, paste that into my canvas here. Maybe this one here. The next place that I'm going to reference here will be the Sterling vineyards. Again, I want to make sure that I'm referencing sterling vineyards in Calistoga and not other locations because that is a multinational chain of vineyards. And so right away, I see that they have some pretty distinctive things going on. They have agondo. Not many wineries are going to have a gondola. So I'm going to get a view of the gondola that shows some of the context because agndola alone isn't going to show that sense of it being related to wine or being in a wine region. But if you get some of the surrounding area, like the mountains, and trees in this case, then that might help give some context. And I also see that the architecture of this vineyard or winery is pretty spectacular. It's this beautiful white stucco, I guess, building. And so there's a view of it from far away, kind of nestled in a forest hill. And then I'm going to get something a little bit more close up. So one option, as I'm thinking about what to illustrate for this one is just one detail of the building. So we have this bell tower under this arch that seems to be a distinctive feature that they've used throughout the building. And then those tall coniferous trees in the background, I like that. This is an example of syntky where we can represent a place by just one part of it, or we can represent an idea just by one thing associated with that idea. A lot of the times when you're coming up with an icon, especially an icon of a point of interest in a map, you can use this idea of synticy. You can use a part to stand for the whole. In this case, I'm choosing possibly. To use just the bell tower to represent the whole. CIA at Greystone is my next thing to find reference images for. Okay, so here we have kind of this old world style building with this distinctive architecture. And I look at a picture like this, and it's two too much detail for me to enter into. There's no real focus, so I'm going to keep looking. This cropped image here does show more focus. So I'll keep that as a possible reference, but I'm going to keep looking for something hopefully, a little more iconic looking and something that I'm more interested in drawing. One thing that's distinctive about this location is the palm trees in front of this old building. Those kind of really give you the sense of place. So I'll just do a little screen grab of that and maybe find a few more This is a good view here where it shows the entrance with that tower, and then it's framed on either side by the palm trees. And even though I don't have the full palm trees in view, I have another image there that I might be able to work from. At the same time, I realized that so far, I haven't referenced any actual wine thing in my reference images yet. So I might just also want to see what kind of wine references I can show related to this location. This is the culinary institute at Greystone, so they probably do wine tasting, so I'll just do a little search of that. Right away, I get this guide here or this smellier. Now, I will copy this. And pace it here in case I decide to use it. And I have some more thoughts about this particular picture that I'll share once we actually start sketching. Okay. So That's four. So I have one more point of interest to reference here, and that is V Sui winery. Now, I'm just going by what Google images shows me when I search these places in general. But there's a good chance that in the brief that Chat GPT gave me, there are some descriptions of why it chose those places or what it wants me to call out as a feature of that location. Maybe just to be safe, I'll go and see if there's any information that I can glean from my brief from Chat GPT. Here in the points of interest listing in my brief, there is a little note for each one. I have a 13th century inspired Tuscan Castle and winery offering tours. That's where Costello Damerosa. Showing the castle is a good decision for that. Then Sterling vineyards is known for its aerial tram ride offering panoramic views of the valley. Featuring the tram or the gondola is probably a good idea. And then Oxbow public market, which is kind of general. It's like basically it features all these things, wine, food products. So I think showing just the sign with the logo and that distinctive little ir at the top top is probably going to be a good idea. And then the Culinary Institute of America at Greystone. This one does say that it's a historic building, and it offers culinary classes, tastings, and an amazing on site restaurant. I might be on the right path with that one as well. Then with Vs Ty Winery, it's a popular family owned winery known for picnic grounds. I might want to show some kind of picnic reference. And gourmet deli, and that's where we are right now. So the building itself, I don't think is very distinctive, and I don't think I want to include yet another building among my icons. Sometimes it's harder to find a reference that you feel excited about including as an icon. Like in this case, there's a lot of photos of weddings, so there's pulled back scenes with lots of details and lots of people, and that's certainly not what I'm looking for. You know, there is a little place setting here that might inspire some kind of icon that represents being outside, having a picnic, a lot of weddings. Okay, I found something that I could definitely get into in terms of illustrating. So I'll just copy and paste that food truck image into my canvas here and maybe one more view. In terms of being an appropriate icon, a food truck represents not just the wine or the winery because it has a logo on it. It represents the eating part and the fact that they do have good food at this place as well. It's an appropriate icon. I'm just going to indulge myself one more view of that truck, which is the side where they serve the food from, which might be important. There is one more group of reference images that I'd like to look up, and that's just the NAPA wine region in general. That will just give me a sense of the vibe of the overall place besides the points that I've collected those other reference images for. I'm going to go back into Google, one more time, and just look up NAPA Wine Country and see what it gives me. I can see that they have, for instance, this iconic sign, and people apparently stop by and take photos in front of it. So I'll just do a grab of that sign. I'll copy that image and just paste it in here. And otherwise, the images that I'm finding here are really stuff that I already know based on the previous searches that I've done. So vineyards, there's mountains. It's a bit dry down in the valley, and it's more or lush up on the mountains. So if I need to reference those later on, I know where to look, but I think I'm pretty satisfied with my reference images, and now it's time to start drawing them. And that's what we're going to do in the next video. 9. Drawing (Icons) From Your Reference Images: In this video, we're going to start drawing from our reference images. Now, in my classes here on skill share, and in my own process, I have these two modes of drawing, and these are mode and i mode. O mode means observational mode or observational drawing. We're observing our references. We're drawing from our references. We're not trying to come up with ideas. We're not trying to be fancy. We're really just drawing to see. Then in i mode, this is imagination mode, sometimes I call it ideation mode. This is where we start trying to bring an idea or some kind of personal angle to whatever the subject is we're drawing. We'll get more into mode in a moment, but what you need to know for this video is that we'll be drawing observationally. We're drawing an mode. To start, I'm going to be drawing Castella D Emerosa. I'm more drawn to drawing from this reference because it's less complicated. And in spite of the fact that I encourage my students to draw an mode first without pressuring themselves to come up with ideas. The reality is that as I draw, I am thinking about the next step. As I'm drawing observational here, I'm also thinking about whether it's going to make a good composition or whether I can make the drawing more unique in some way. Especially since we're copying these reference images, we want to be careful not to plagiarize them. This is especially important in a recorded class where I'm encouraging you to basically copy a photographer's work or to draw copyrighted architecture. So it's important that eventually we bring these things away from the reference. These references are just there for our actual reference, and that's it. The information that I'm learning from this particular reference photo is, of course, that it's a castle, with these towers, with these classic crenylations at the top. Those are the little square bumps that go up and down. Then there are these what appeared to be all of trees in the foreground on the lawn, and then there is, of course, a vineyard in front. Then with this one, even though I am resisting, every bone in my body is resisting, drawing this because of its complexity. I think I can still learn something from it that I might be able to take with me as an option later. You can see that even though I'm drawing observationally, I'm not necessarily drawing realistically or every detail. Depending on what you want to do, you can get really detailed here, but I always allow myself to just not have any other goal here, but to learn about what I'm drawing so that it gets committed to my memory, and then later on, I can hopefully draw something about it from memory in a much more personal and stylized way. I am going to stop drawing that right now because as I'm drawing, I'm feeling like it's already too complex for the icon that I'd like to bring to this map that we're doing. Going to hop over to the next set of reference images here. This is Oxbow Public Market. I've already made up my mind that I'm going to draw for this as my reference because the other ones are just too complex, and I really want these illustrations to be simple. I've also made up my mind that I think the sin is a much more interesting subject for this icon. It's out of the images that I've collected here. It's definitely the most distinctive and iconic of this place. Otherwise, I'm just drawing the front up a grocery store. What I really like about this particular sign is it is right up my alley in terms of being retro. I love this kind of stuff. Big giant arrows that point you to where you're supposed to go. Again, I'm just drawing to capture some of these details in my memory. It is not meant to be an exact copy. You don't have to be a good drawer to draw in mode. I will say that sometimes the drawings that I make in mode end up becoming the sketch for my icons or other types of illustration that I end up doing. But it's never the goal. It's always like a nice, convenient Almost lucky situation that it turned out. One detail that I love about this sign is this frame that it's set against. I'm just drawing that to remember. There is some texts on the side of there as well, but I'll just rough that in. That's the Oxbow public market. I think all I will need is this sign. I won't need anything else to represent that. I'll just moving into the Sterling vineyards point of interest. As I'm drawing these reference images, I'm remembering that in my brief, the thing that was called out about Sterling vineyards was the gondolas, or they call them the tram. I'll just start by drawing that. Again, just trying to get a sense of what do these gondolas look like so I can come close. In the representation here. Again, I'm getting a little bit mixed up between my i mode and my mode. The goal right now is to draw from reference to learn what this thing looks like and to commit some of that to memory. You can draw it from heart in mode or mode later on. I just want to include a few trees just to remind myself later that I might want to show some of that context, and I'll just make that a little bit smaller. The other thing that I thought might make a good icon is this bell tower. That's very distinctive. We have this arched hole. That pops up. There's a bit of a dimension there, part of the side, and then, of course, on the inside. One thing that I think is pretty interesting here is these beautiful, almost artificial trees in the background, very, very tall, and slender that I also may find interesting to include The next point of interest to draw on mode four is the Culinary Institute of America at Greystone. I told you in the previous video that I would explain a little bit more about drawing from a reference such as this smelle giving a guided tasting, presumably at this particular location. What I don't want to do is copy this photo in drawing, even if it's in my own style, even if it's drawn by hand, even if it's not realistic, because if I go and copy this basic gesture, in a way that perhaps the photographer or the owner of this photo could say, Hey, that looks a lot just like I'm going to pretend her name Sandy. That looks a lot like Sandy doing a tasting because I drew her in a way that the photo is representing. This is maybe too close to the reference, and in OM, you don't need to worry about being too close or copying your images because only you will ever see these sketches. These aren't going to be something your client sees presumably. Me drawing her like that right now, is fine because I'm just referencing. Now, I'm going to show you just a couple steps ahead here, what I would do in I mode. So I would put that reference away. And I would of course, remember the smell that I drew. I'll remember that Sandy was standing with a bottle of wine in her hand, but I'm not going to draw Sandy anymore. I'm going to just draw, maybe this is Andy, and Andy's wearing a suit, and he's holding a glass of wine. And he's talking to a crowd he has his hand and he's gesticulating making big gestures, and maybe Andy has a beard. This is just one example of how later in mode, we'll be trying not to draw exactly from our reference. I just do that for my head, and nobody owns the copyright to my memory. I'm going to put this guy down here. There's Andy and Sandy. And I'll move on to another thing to represent here. There's this distinctive architecture, this old world style building. There's the tower and then this larger portion where the entrance is. You have this arched door that I can see down here, and just try and get the sense of what these windows are. What are the details? There's a tower there. There's some bushes in front. Then the thing that I like most about this particular view is that you have these palm trees framing the entrance, and those palm trees really make it feel Californian. Super tall palm trees with the tiny little palm palms at the top. I'm not going to draw the rest of the building. That's all I need to reference. This is a case where I'll probably end up illustrating my icon. In a very close way to this because even though I'm drawing an mode, I tend to copy things in a very stylized way anyway. Hopefully, the way I've copied this, the way I've changed the view a little bit more to the front and more straight on and the palm trees are in a slightly different location. Hopefully by doing this, I've removed what I'm drawing away from the reference. We're going to move on to the V winery, and I'm just going to choose one of these food trucks. I mean, it's all the same truck, but one of these views to illustrate or draw mode, I should say. I think the side that makes the most sense to draw would be the side where they serve food from, since it is a food truck. I can see that it's almost like a mail truck or a delivery truck of some kind. I'm not too worried about copying it in its literal detail. The idea of this truck, enough that you can identify it and relate it to this particular food truck at this particular winery. This has a lot of different things that I could use to do that, like the red bottom and the white top. Of course, this awning, here's a little hint of that logo that panel there, and there's a bare out front. By the wheel. Then maybe just one more view, something more just side profile, very loosely referenced here, probably too loosely referenced, but it's okay. There's a logo and the bottom part is a graphic along the top there, and there is a chimney at the back. Maybe I'll include that chimney on this one as well. At this point, I've drawn from reference images for my five points of interest. If you remember, I did collect one extra reference photo. This, welcome to Napa Valley sign. I don't know if I'm going to use it, but I'm going to just draw this as well, commit it to memory, and maybe I'll be able to use that as well. It's basically a brown sign part at the top on legs or sticks, and then there's the word Snapa valley here. Again, not super detailed, getting the gist of it. There's a bunch of grapes. Then there's this val part of the sign here with more words. The thing that I'm thinking this might come in handy for is possibly a title in the map. If I have my map doing this thing, maybe it would make an interesting welcome to Napa Valley or something like that. So title for the map. But I'm going to lead it like that so we can get into the next step, which is refining our overall Map sketch. That's what we're going to do in the next video. M. 10. Drawing Your Refined Map Sketch: All right, it's time to start refining our sketch. In this video, we're going to be resketching our base map and then overlaying our mode point of interest icons. Basically, we're going to be sketching the map in its entirety, including the icons and the base map. The first thing I'm going to do is duplicate the base map sketch that I did before, and I'll just start working over top of this. I'm going to just merge all those layers together of my sketch, and then maybe just take it back in opacity so that I can see over it. Sometimes what I like to do in sketching is actually set my original sketch layer to multiply and then work beneath it. That way, the original sketch is always visible. O top everything else that I'm adding into the Canvas. Of course, I'm going to start by redrawing the geographical details, the land, and the water. In this round, being a lot more simplistic. I'm stylizing all the different water bodies and rivers in a way that is much more approximate. I'm not totally inventing things. I'm trying to follow the contours as close to reality as I can without it being super literal and super copied from my Google Map reference. That's my water reference there. The next thing that I want to add is the roads. Just like the last time, I'm going to add a layer for that. I'm going to head over to my painting brush. That flat brush in the painting set, and then go back over these roads. But this time I'm thinking, do I need to include all these roads exactly as they're shown? I might want to simplify it just a little bit, even if it's just in the paths of how the roads are drawn, getting a little Z with some of those angles too. People aren't using this to drive around with. This is more just about the vibe of Napa Valley. Doing what I can to simplify and stylize, include a bridge there. I like that one. And then Well, it turns out, I'm keeping all the roads because there's not that much detail in them anyway. And so I'm going to just scale that back and add my next layer, which will be the points of interest. This is where I just want to double check what side of the river is that Oxbow market on? It's on the west side of that river. Currently, it looks a little bit more east. Any local would catch that and probably identify that that's incorrect. Those are my main points of interest. Those dots. For now I'm going to leave the labels off. And I'll just start adding the smaller city or town dots, and I will add the labels for those. At this point, I am being a little more mindful of the typography. What are the styles that I'll be using for these little town names for the town names, I will be using a script font or a lettering style, which is what I usually do in my maps anyway. I'll make NAPA slightly larger and kind of go back to my geo geography lay and just erase a little bit of that river, so NAPA is visible. The reason that I don't want to add my labels for my points of interest yet is because I'm going to be drawing in my points of interest illustrations very shortly. And so those labels will probably be in the way, and I'll want to figure out where they go after I draw those in. At this point, this is where the steps are laid out in a different order than what we did in the first sketch through the base map. We're not going to get into the rest of the cartographic symbols or the labeling. Now is a good time to start planning what those icons will look like. Now, you can go about this one of two ways. The first way is to draw all your icons separately and then cut and paste them into your map composition later. I very often work in that way. But today, I'm actually going to draw them directly into my sketch here. I'll draw them each on their own layer so I can move them around. But by drawing them into my sketch here, it will help me to remember or be mindful of the overall composition I'm going to be working in, and therefore, avoid the temptation to get too detailed in those i mode sketches that we're about to do. So I'm not looking at any references as I'm about to draw these points of interest. You're welcome to do that. There's no challenge here. You're allowed to reference things or not however you'd like in your drawing. But just to demonstrate how Imo drawing works for me, I'm going to practice what I preach here basically. Maybe I'll start with the Culinary Institute at Greystone. I can look back and see that there is this space all up here in the top middle, and that's where I'm going to draw my icon. I think I'm going to go with the entrance to the building rather than the smellier. We have this part here. I remember there being a bush here and a bush here. There is a tower at the top of the tower, like a lightning rod or something, and then two palm trees framing the building or framing the entrance, and that just happens to fit nicely there. I'll probably go back in later to label that. The next icon that might fit here is the V food truck. I'll remember to add a new layer here and get going. Now, I'm going to simplify this from what I drew in my mode. In my mode, I remember drawing it at an angle and you could see the front. But I want to keep this pretty simple, especially for the style we'll be working in. So I'm going to make it all just kind of flat. Except for this awning, the awning can be on a bit of an angle. Otherwise, it's hard to show. And then there is an open window here, and then some kind of a logo panel here. Of course, we had that red bottom and the tires are getting eaten up here. I'll just redo those a little bit smaller, separate, and then perhaps we'll include the barrel. And then of course, that funny chimney thing. That makes this food truck look very food trucke. Now, as I'm drawing this, because of how close the icons are and some of them are a little bit crowded up in the north west area here, I'm going to use call out lines just to make sure the connection is clear, those call out lines will probably have to be temporary because I'll be moving these things around. I'm going to go in and add my third icon and the easy one to do and fit will be the Oxbow market sin. I'm not going to have a hard line down at the bottom, just to indicate that this continues down. There's more to it. We'll just make that equal to the relative size and presence of the other icons. I don't think I need a call out for that one. Just yet. It's pretty easy to remember. Now, for sterling vineyards, we had the gondola and the bell tower. Which of those is going to make the most interesting icon for this composition that will also fit in? I was tented to keep it super simple and do the bell tower, but I think the gondola will make for a much more meaningful and interesting icon, and I don't think it will be overbearing. I can still keep it pretty simple if I just remember not to get too detailed. I know that I'm glossing over some of the details that are on the actual thing and that almost the whole gondola car, like the part that you go inside is glass. But I'm going to keep just a part of it white and that will just because in my simpler style, I need something to give it a little bit more shape and definition and variation. And then I'm going to add just a tiny bit of context here. We're going to have the mountains and a few trees, maybe one closer up. That has to go up here somewhere. I'll just leave it up there and I'll deal with it later. The last icon, of course, will be Castello D amorosa, and that was just the turret. I think for that one, especially because things are going to be very tight up there. I'm going to just stick with I think I called it a turret, but it's actually I don't remember what that's called. We'll call it just a tower. But that up here, and then start to move things around until we come up with an organization or an arrangement of these icons that will work. The goal will be to have each of the points of interest line up in the same order in which they would be if you were driving along this route. We'd want the gondola for sterling first, and then as you go down the route, each of those locations will appear as icons in the right order. That's my goal, but I'm not sure it will be entirely possible just yet. I'm also rearranging my layers in the same order so that I don't get confused as I'm trying to reference them here. If you'd like to select a layer without having to go through your layers panel here, you can just hold your finger and long press over an element in your canvas and it will either select that layer or if there's multiple layers, it will give you an option of which layer in that particular point you'd like to select. I would like to select my gondola here and then move it. The other thing that I want to be careful about is when I start adding call out lines, I don't want them to criss cross all over the map and create a jumbled web. I had this goal of having these icons in the correct order along the route, but I'm not sure that's working out. For simpleity sake, I'm just going to merge those layers altogether, instead of having to select around each one. I can always cut them back out if I need them. Just remove these call outs and then add them back in and see if this works. We have the CIA going this way, setui going this way, Costello, going down that way, and Sterling coming up there. I think that works. If I change my mind, I can always move those around later. Important to get your composition right in the sketches though, because once we start actually finalizing our illustration, the way we'll be working, it is actually going to be really annoying to try and make big changes like moving an entire icon. I'm pretty happy with how the icons have landed here. Now I'm going to start fleshing out the rest of the map. That means adding in the geographical symbols and the labels, and basically finishing the total map composition. We have our icons, we have our roads, we have our geography. The next thing that I want to do is add some labels. Now, as I move along here, I'm feeling like maybe I'd like to see those icons a little bit more. I'm going to create a new layer that I'm going to tuck underneath my icons. I'm going to use white with my pencil at a tilt there, just sheet in a little bit of background. Right now, it's really just separating the icon sketches from the roads because that's really the only layer under it as well as the points of interest. Maybe what I'll do is I'll group the icons and that white background that I just drew in and bring that below those points of interest or those dots. I'll just rename that as icons. My whole group is going to be called icons. Now I'll just continue with some labels. I'm on a new layer, and I'm going to start adding in labels for each of the points of interest. Now being mindful of my lettering. I have script for the little town names. Now I'm going to probably do just simple upper case all caps for my point of interest labels. As I'm adding in these labels, I'm not being precious about the execution like how I'm drawing each letter, but just indicating the style in a more sketchy way. I'm adding the labels for these points of interest beneath them. That's just something I'd like to keep consistent for each point of interest. Now, for Oxbow Public market, I don't think I need to add a label. It seems like that would be redundant. I'm just going to leave that. The other labels I want to add in, of course, are my road or highway numbers. I don't need as many labels of these highway names as possible. If you remember, my reference is Google Maps, which is trying to help you actually navigate the place. In this case, I just want a little bit of a reference. I'll put a 12 in a circle there. For H ighway 12. One thing I didn't indicate in the sketch here is the name of this road, which is Silverado Trail. And then every now and then, I can reference my map. I believe this is Route 121, and we'll say this is 29. It might not even be necessary, but adding some of these mapping details can just make your map more fun. I find that some clients ask me to remove those extra details on others love them and they want me to leave them in. I think I got this one wrong, that's 128, and this one's 112. Now it's time to start adding in those geographic symbols because I probably will shade in the land differently depending on what the geography is, I'll just indicate that. By just shading that in with my pencil in this way. By that, I mean, the mountainous areas might have a bit of shading of some kind, some different coloration compared to the valley down here. Then of course, the water. I just want to make sure that I identify that as water. I might even want to add the label of that lake name, which is Lake Berry sea. And of course, my mountains. I think I may have gone a little bit over the top the last time. I'm going to be a little bit more sparing in my mountains, remembering to group them in little clusters. But they should also together kind of flow from the Northwest down to the Southeast, and then adding in some tree icons or symbols. Now, I think I'm ready to hide my original sketch and see how my new sketch is looking on its own. As you may recall, I put my original sketch at that top layer. I'll just turn that off. Let's see what we ended up with. I think that's look like a map sketch. So I think what I want to do is just Make sure those icons really show forward. I will bring those up to the top layer. I will also bring those labels up to the top layer as well. Maybe even add them over top the white backgrounds that I penciled in there. I'll go to that white background and just add a little bit more beneath everything in that layer group to help sit it apart from the rest of the map, which will be much easier to reference when I'm illustrating over this. It alludes to some of the creative decisions I'll actually make in that final map as well. Now, one last thing that I want to consider before I'm done this step is whether I want a title. You'll remember that I had that Napa Valley sign and I thought maybe I could use that as a backdrop or a holder for the title. Now, I feel like having that whole sign in addition to all the details that are happening here in this sketch might be too much. But I'm going to loosely reference it. Just make sure that I'm on a new layer here by doing something like it, but not exactly. I just want there to be a space and some holder for what this area is called, which is, of course, Napa Valley. What I'm thinking and I'm just sketching it in here to see if I like it. Is a similar structure, but just simpler. Then maybe use one of those elements from the sign. It had that oval shape. Maybe they'll be something on the side here and I'll make room for a detail here. I'll move that sign, the oticle sign over. Maybe this panel here could say something about what the theme is. I think that was like savoring Napa valley. But the way it falls here, I couldn't write that. It could be like Napa Valley wine tour, or even just like a bottle of wine because I don't actually have anything specifically wine themed on this map at all. There was that grape motif on that sign. This is a detail that I think I have to work out. I'm going to work it out right here in this sketch. And see if I can figure out something that I like. Maybe put the wine bottle here, and the wine bottle we'll say savoring because that's what the theme name was from my chat GBT brief, savoring NAPA. I think the original title is savoring NAPA savoring NAPA, actually, but I'm going to put savoring NAPA Valley. I'll leave it in the sketch and I may decide to keep it or not later. I'll move this guy up here a little bit. Now that the Oxbow market sign is out of the way. I feel like the Napa Valley title can come in a little bit larger down at the bottom to read more like a title rather than a point of interest. I'm pretty happy with how this sketch turned out. It's still a rough sketch and there's some refinement to do yet, but I honestly believe that I have everything that I need in order to start the actual illustration part. I do recommend that you get your sketch to a point where you're pretty happy with it because making changes past this point are going to become difficult. Now, once you're done your sketch and you're satisfied with it, we can start to build our illustration over top of it. Now, before you go and do that, this is a great time to share your work on the class projects page. Along the way to those final illustrations, we're going to make some inky bits using ink and paper, and that's what we're going to do in the next video. 11. Making Your Inky Marks: Okay, in this video, we're going to do what might be the most fun part of the whole project, and that's getting our hands inky and making some inky marks and some inky printy textures. So we're really going to be focusing on making two kinds of elements here. We're going to be making stamp brushes, and those will be used for repeated elements like our cartographic symbols. That would be mountains, trees, waves, location dots, and stuff like that. And then we have textures, and these textures are going to be applied to the whole composition, and that's what's going to give our illustrations that analog feeling. So I'm just going to show you what's on my desk here. I'll change views. And what you're looking at are the supplies I'll be using. I'll leave a full listing of what these are in the class projects page so that you can know exactly what they are. But I'll just quickly go through what I will be using. So first, I'll be using sketchbook paper. So this is a medium tooth sketchbook paper. It's a little bit more textured than your average printer paper. It's a little bit thicker. And so that's a recommended paper type because it just has that extra texture that enhances the subtle quality of the textures we'll be making. Next, I have this it pen, so a NI pen is really just a metal tip that you dip in black ink, and then a holder. Sometimes these are attached, but speedball makes holders like this with these removable nibs. Now my nib is glued in there with dried ink, so I'm not even going to try to take that out, but that's a nib pen. Of course, having a few brushes might be something you want to experiment with. For my demo, I'll probably just be sticking with a nib pen, but this is just a flat brush and then a round brush, a small round brush. These came in a pack of like four that I got at the Dollar store. You really don't have to be fancy with what brushes you use for this kind of a project. Now, another interesting mark making device is this sponge. So I've just made it like a dabber by stuffing some paper towel inside and wrapping some elastics in it. What this does is it makes these spongy, grainy stampi things. I'll show you in the demo and that'll make more sense, but that's one of the things I'll be using. I also have a pencil with an eraser top. You can actually draw things with your pencil and use that as some of your marks as well. That's sometimes a possibility. But I have this eraser on the tip here, and I use this as my location dot stamp. I'll just dip that in ink and then make marks of that. Now we come to this funny thing, which is called a brayer. A brayer is basically a paint roller, but it's made out of rubber, and it makes marks like what you see here on this class. This is how we get our printy textures that are wider and broad and fill the whole canvas. Of course, for the ink, I will be using black India ink and block printing ink. These are two different inks that behave differently. This is more like watery, and this is more like paint. It's goopy and has a sticky or a tacky feeling to it. That's how we get this brayer texture. The last thing you'll need is some plastic or glass smooth surface for loading your brayer with. This is just an old picture frame glass, as you can see, I did wash it the last time I used it, so I probably won't use this today. I guess I could use the other side. But another thing you could use is just something plastic that you have lying around. This is an old screen protector for my iPad. I don't need it anymore, so I will be using this. What I like about this is that because it's not glass, I don't risk breaking it and then cutting myself. I almost forgot another important thing you'll be needing and that's some water in a jar. This will be important to wash your brushes with. It might also be a good idea to have some paper towel and something else to keep your space tidy. But be sure to cover your desktop too if you don't want black ink all over it after you're done. I don't think I need my iPad glove, so I'll take that off. So I think what I'm going to do just to start. This will be helpful when I start sampling these textures in procreate is just create a grid, and I'll make my marks my different marks within these grids, and that ensures that there's a bit of space around them, and that will make cutting and pasting things easier in the next step. So I have this scrap piece of paper here. I'm just going to use that to hold my ink so it doesn't get my desk too dirty. And now we'll start making some marks. And these are the marks that I will need in my own map. So I want to do some water, and maybe some trees. Now that got a little goopy there, so I might start again down here. You really don't need to work too big, but don't work too small either. You're sure to give your little groupings of symbols if you're working in groups some space that will be important later on. This is getting pretty goopy. I might need to just shake that off a bit. The thing about ink is that you just can't control it as much as you can something that's digital. Maybe I'll give myself a couple more options here for water. I'm going to need some mountains. I'm basing these off of what I have in my sketch. I think I had a few instances of grass like this, so I'll make one little cluster and maybe just one in isolation up here. It may be another one case I like that one better. Now, while we're at it, I don't have any of these in my own sketch, but oftentimes if you're working with interstates. You have these little badge motifs, symbols that contain the highway or root number. So I'm finding anything that requires a fill this nib pen isn't very good for. So I'll try something different for the circles. And that actually is a good opportunity to show you what I do at the pencil eraser. I just get that right in the ink, maybe dab it a bit and describe ink from my desk. What you want to do is just maybe load a little bit of ink on your paper and dip it in that and you can create these nice circular stamped circles, which at least in this case, are much nicer than What I did with the nib pen. So I can use these circles for highway numbers or I can use them for location pointers. I'll use a round brush and try those badges again. I may be a little larger this time. So I'll start with something that looks like this. This would be more for like a regional or a state highway. And this might be for an interstate. So now, before I get to carried away with the marks here. I'm running out of room on this paper and I still need to do some stamping marks. So I'll go and do that now. I have this lid, and I'm going to use that as a tray for my ink and dip it into it. So I use my dropper here. And maybe add a bit of water. I'm actually going to do something crazy. Use my dropper. And siphon some water out of my water jar there. And just use your sponge to kind of get it on your sponge and maybe dab it on some spare paper or your paper towel. I just create one mark. We want to be careful to make your marks as clean as possible so that you get this kind of grainy stampi texture without the smudge. I might try one more pushing my luck here. Just want to make sure that I leave room around the so I don't have to edit it out too much when I start making my brushes. Now, I'm going to be doing my lettering directly in procreate, just using a procreate brush, but you could also do your lettering on your paper. And if you know what all your labels are and what the styles are going to be, then you can just do that all on one page, scan that in and then copy and paste that into procreate into your final map later. So we're going to let that dry before I scan it, and now we'll make some brayer textures. This is a lot of fun. For this step, we'll be using the speedball block printing inc. This is black. And what I'm going to do is just put a line of b. If you find that it's liquidity like that, it just means that the ink and the oil or whatever is in here have separated, so you can just close the lid and give it a bit of a massage like that, that will help blend all the elements back together. Then to make a line like this. We're just going to load our brayer in this way. Now, you don't want to add too much ink here because if you do, it will be too thick, and it will go on and cover the white paper totally, and there will be no texture. And there's he point in that. We want there to be a bit of a texture. So let's just give that a try pressing with maybe medium pressure, not too hard. That's a nice impression. And we want three of these. Looking at these, I think it's a little bit too light. I want to try a texture that's just a little darker. So I'm going to let this dry and I'll try one more go at this. You might find yourself doing lots and lots of tries, and that's kind of the joy and pain of working in an inky style with these up, you know, physical materials. You have to get them to cooperate with you. You're not in digital land anywhere. Now I'm really loading up this by. You hear that kind of tacky sound like tires on wet pavement, and I will just try with a bit harder pressure. And that gave me a nice rich dark area with just a little bit of that salty paper texture coming through. That's what I want. That's 14. It is possible to get carried away trying to make the perfect textures. Sometimes you just got to stop yourself and scan what you've made and work with them. That's what I'm going to do. I'm going to let this dry and scan it, get it into procreate, and that's what we'll do in the next video. 12. Scanning Your Inky Marks: So now it's time to scan your textures and your inky marks and get them into procreate. So I'm going to be scanning mine on my flatbed scanner using my desktop. That is definitely recommended because it will pick up all the subtleties, especially on that printed texture we made with our brayers. Now, you can use a high quality camera, even camera on your iPhone or your smartphone, as long as it's of decent quality. You just want to make sure that you're working in a well lit area and that you're holding your camera very still to get the best possible quality. So I'm here in image capture connected to my scanner. I just want to make sure that I'm scanning in black and white. I usually scan these things in at 600 DPI. That's actually overkill for the size that we're working in in Procreate, but I'm going to stick with it just in case it will give me more options later on if I need them. I'll just hit command A and scan those bad boys onto my computer. While I'm here, I'm going to also scan in my inky textures. Now that I've scanned those, I'm just going to get those onto my iPad using AirDrop. We're back in my procreate gallery here, and I've already imported my scans from my photos app. To do that I just hit photo up here, and then it lets me select which photos to bring in here. So I will just open up the scan with those stamp symbols that we made. So that's the water and the trees and the mountains and all that. The first thing that we want to do with this scan is clean it up and prepare it to be turned into just black and white brush artwork. So here's what we're going to do. Going to go to the little magic wand adjustments tool at the top left there. And there's a whole bunch of different settings in this list here. The first thing we want to do is go to hue saturation and brightness and pull that saturation down to nothing. In my particular situation, you're not going to notice any difference, and that's because I scanned my inky stuff in gray scale. This artwork already is in just black and white. There's no color in it. Ever. If you shot this on a phone and then brought this directly into procreate, there's a good chance that there will be a bit of a color cast in that. Maybe what I'll do is I'll just show you what I mean. This scan here is from a photo. I just shot this photo with my phone and then got it onto my iPad. You can see that in comparison, it's a little bit more yellow, there's a bit of a color in this. To get rid of that color, we go to that hue saturation and brightness and we pull that saturation all the way down to zero. That just gets rid of any color information and turns it into black and white. I'm going to just go over to the little symbols that I was working on and we'll continue our process. We did the 0% saturation. The next thing we want to do is go to curse. This is where we're going to lose all that extra texture around our inky marks. There's the pencil marks, there's little tiny hairs and fibers. We want to basically have a purely black and white image where only the inky marks that we're interested in keeping remain. So I'll use maybe I'll keep just like the trees and these dots in view. I'm going to start by pulling the little point on the left of this chart toward the right. What you're seeing is that the image is getting dark and it's actually enhancing or making those marks even more visible. But what if I take this top right little point and drag it more to the left? This is where we start balancing out what we want in terms of detail. It might help to just zoom right in, so you can see some of the edges or subtleties, and you want to balance a certain level of detail in the texture with cleanness. You want to clean up all of that extraneous texture. It's possible to wash it out too much. Where that texture just starts to disintegrate. That happens when you pull the top right slider too far to the left and the opposite can happen when it gets too black by pulling the left slider too far to the right. So like many things in life, we want to be moderate and find that happy middle. You can just go all around and see how that treatment is working out for all of your marks. Hopefully you can just use one setting for all of them. I'm happy with this and anything else that still remains, that's maybe a little bit of artifact or something, I will be cutting out by hand anyway. You can just commit that by tapping the adjustments tool at the top there again. Once you're done making your adjustments to your stampi bits, we can go back to the gallery and do the same with our textures. I'll just walk you through one of these. Again, we have our scan, just raw from the camera or the scanner, and if you've taken a photo, it will probably be color. You want to drop that saturation down all the way to nothing and commit that change. Now we're going to go into curse and do the same thing. Kind of looking at all of this at the same time will be helpful. So just take that top right slider and bring it in to the left. But at the same time, take the left slider and bring it more toward the right. And what you want to do is just have pure texture. What you notice here is there's a certain lighting effect. It almost looks like a photo still. And you want to just purify this to the point where it's just black and white and as few in betweens as possible, and you're just left with that delicious salty peppery, greeny texture. These are my darker textures that I made with the brayer. And so I will lean into that and make these as dark as possible. This one is just going to be very subtle. It doesn't need to be crazy over the top. I'm going to stick with that and then maybe for my other scan, where I have these lighter ones, I'll make them a bit lighter, but we'll see. You can play around with what works best for you, what kind of texture effect you want. Maybe you want to play around with adjusting the curve from the middle. Sometimes that changes things too. I like to keep things pretty simple and just have these two points because to be honest, I don't know what the middle thing does. Of course, if you try one setting and you find you want to adjust it later, you can always go back to the original photo or scan and do this whole process again. All right, that's it for this part of the process. We've made our inky bits and textures, and we've scanned those, and we've made some adjustments in procreate, getting them ready to be turned into stamp brushes and texture effects or layer masks in some of the next steps. In the next video, we'll start by making our stamp brushes. 13. Making Your Stamp Brushes: Alright, it's time to start making some stamp brushes out of our inky bits, and that's what we're going to do in this video. So I'm here with my cartographic symbol scans loaded up. I can procreate. And I'll just start making a brush out of the water waves here. So some of the steps may seem kind of confusing as we go along, but they all end up getting us to where we want to be, which is ultimately having a stamp brush. So I'm going to go to the layers, and on that layer, I'm going to just invert it. This is going to make white areas black and black areas white. The next thing I want to do is crop in to just one cluster of symbols. So you can go to your wrench tool there or your actions menu. And then go to Canvas, and at the top there you see crop and resize. We're going to crop this whole canvas down to just one of these little clusters of waves. You can get it as cozy as possible. That should work, and this is where you can see it was important that there was nothing else that was going to be in this particular area of cropping. So I will just hit done. And then we have just those waves. We're now going to do three fingers swiping down to copy, and finally, we'll go into the brushes here, we'll go to the brushes menu. Maybe what we can do is create a new brush library, and I'll just pull up my keyboard here, and we can call this brush library maps. How about inky Mt brushes? The next thing we're going to do is hit flus, beside brush library up at the right there, and this is where we're going to start actually creating our brush. The first thing we want to do is go down to shape and the side bar there and go edit. And then we're going to go import at the top right there and go paste. And that's going to paste what was on our clipboard. Hopefully, it's still there. And then be sure to tap done, and that gets our first stamp brush shaped down. Now, right now it's just a brush, so it's doing this zany thing. We certainly don't want that. So we're going to go over to stroke path and bump spacing all the way to Max. This is like the key thing you want to do with a stamp brush is have max spacing. Now, as I'm doing this, I'm noticing that some of the waves are lighter in opacity depending on how I press my pen down and I want them all to be the same. I don't want there to be variation in opacity, especially in the style that we're working in. To change that, you go down to Apple pencil and the sidebar. There's a setting right at the top here and it's the opacity like how much opacity change you get based on pressure. Right now you get a maximum amount of influence on opacity based on your pressure, and you want to set that down to zero all the way down to zero, and now all my Little marks bear are exactly the same opacity. Now, we're going to go back up to shape to try to make a little bit more variation and what we're seeing here. So I'm just going to go down to shape properties and adjust scatter. And now you can see that there's a little bit of a jitter or randomization of how angled. Each little stamp impression goes down. I think if you make it just barely perceptible, it will just add a little bit more of a human quality to the work without it being too zany. I think it's possible to be really overly rotated with each one and that just obviously is going to look weird. So I guess, one last area of settings we can change is going down to properties. And we're going to tap the top button up there to use stamp preview. That just makes sure that when we're looking at the preview of the brush in our brushes menu, we'll see just the shape of the waves instead of like a brush of the waves, and that will help us identify it more visually. Now, we can also influence how big the max size of our brush will be versus how small it can be. This is something you want to play around with a little bit, but I think something like what was given already is enough, maybe 100% maximum size, maybe a little bit bigger. This just influences what the max size this brush will go down at with your brush size selector or setting. Finally, the maximum and minimum opacity here relates to the opacity slider when you're working in procreate. We don't need to change that. Sometimes you might want to change opacity settings. It's okay to leave that as an option. Finally, if you want to give this brush a name, you can go up to untitled brush here and just give it a new name. I'll call this one Water. We'll create a new reset point. And save. And that means if we change settings to this brush later, we can always just reset it back to the settings that we just made now. Now, we have a few other brushes to make, but it seems that we've cropped them all out. What should we do? Well, all we have to do is just undo that crop and then move on to the next thing that we're going to make our stamp brushes for. So we go back to the canvasize and do the crop this time to the trees, if that's what you like to do. That's what I'll do in my case. And just make sure that's cropped nice and tight and then hit done. Of course, don't forget to copy your image before going into making your brush settings. In your brush settings, we really want to just use the same settings we did with the water brush. This time, all we have to do is duplicate that brush and then go in to the shape setting, go edit. We'll go import and paste. Then in this case, my trees get pasted down here. And I'm going to hit done and done again. This gives me my tree stamp brush. Don't forget to give your new brush, its own name. And now I'll just finish my set off of my stamp brushes. I've made a few stamp brushes that I think I'll be using in my map. But I also want to get those sponge textures in as well. These are also stamp brushes, but they're going to behave a little bit different, and I'll show you what I mean. I'm back in my canvas here and I'm going to do the cropping in to one of these brushy textures, and hopefully I'll be able to just choose one to rule them all. I think maybe this one right here will be the best. I just want to make sure I crop into all of the grainy bits and none of the ones that are surrounding it. So something like that. What I don't want to do is cut it off abruptly because that will show in the brush, who had done. Copy. We will use most of the settings from our other brushes. We'll go on to shape. We will go on to edit import paste. Don't forget to hit done, with this one, we'll make it slightly bigger. Just so we can see what we're doing here. We'll go to properties and we'll go maximum size, maybe even 450% minimum size, I actually don't want it to be too small, maybe even I'll try going as high as 30%. Now, with this one, I want more control over what angle this goes down on because depending on where I'm using it, I might want to rotate it around very deliberately. If I clear my drawing pad so I can just see what my toes look like, one is interesting. If I go to Asmu. This makes it so that depending on how my apple pencil is rotated in my hand, it will vary the orientation of that. That's all I really want is to be able to control that. Now, there may be certain sensitivities within this setting that you might want to adjust as well. But for now, I'll try this and see if it works for me. If I need to make changes while I'm making my actual art, I can go into the brush studio and change those settings as I go. I'll just give it a name. We'll call it sponge and give it a new reset point here it done. Now I have my final brush and my set here. You might be wondering, why should we go through all the trouble of making these sandbrushes when perhaps we could just copy and paste them directly in our file or even just draw them in by hand. That would actually take a lot less time to do, especially the drawing things by hand. But the copying and pasting in procreate actually is a little bit more cumbersome. When we're making repeated elements like these mountains and trees and sometimes the dots, it is a lot quicker in the long run just to have a stamp that does those. This is getting around one of what I find is the limitations of procreate, and that's rapid cutting and pasting and placing. This is something that's much easier to do in photoshop, which is where I do most of my work. Getting around that requires making stamp brushes like this. And the great thing is that in the long term, if you plan on making more maps or more projects that use these elements, you have them ready to go in your brush library. Now, I haven't forgotten about the textures we made yet. These are going to be used differently. We're not making stamp brushes from them. I'll show you what we're going to do with that in the next video. 14. Preparing Your Final File: So now it's time to start preparing our final art file. So I know that this process overall is very involved, and you've been very patient. We've gone through all those steps to make those map sketches. And then we made those inky marks and textures. We turned some of those into brushes. And now there's just one more thing that we have to do before actually starting our illustrations, and that's to prepare our art file. Now, if you'd like to skip a few steps and save yourself some time, you're welcome to use the file that I'll be using. I'll provide that as a download in the class projects and resources page. But by watching me build that file with you here in this video, you'll learn how that file works. You'll learn your way around it, you'll learn how to use it. Ultimately, you'll know why I've made certain decisions and why I work this way. I'm back in procreate in my gallery, and what I'll do is go to my original sketch that we made, which feels like a long time ago and just duplicate that. We can give this in your name. We'll call it Final Map and it done. Then when you go into that, we don't need all those layers. We can just merge all of them together just so we have that mean sketch for reference, and we can hide that for now. So what we want to do now is get our first texture, our first like printy texture in here. So we're going to go back to the gallery and open one of my scans where I have those inky textures. And I'll start by selecting this one up here. This one's nice and dark bold, and I'll just copy that. Head right back over to my final nt file. And paste that in here. What I want to do is make sure there's no white edges. I want to get this as big in the frame as possible. In this case, I really want to mostly have this darker area. That's the texture that I want. It's more subtle. Mostly solid with just a little bit of this salty texture there. Then there's a little trickle use on this side to clean this up a bit. Maybe I want some of this extra texture on this left edge, but I don't want such a harsh line like that. One thing I could do is go into my brushes to the sponge stamp brush that I made in a previous step and just use that to go over that edge and soften it up a little bit. I might just make it a little bit bigger. Because this is a stamp brush, I have to stamp it along like this instead of just brushing it. But that's good. That should probably do. I don't want to remove all of those imperfections. Some of those are going to be nice to have. Now that I have this perfectly imperfect printy texture, I'm going to make sure I copy it. I'm going to hide it now. Now what I'd like to show you is how to use that texture as a mask. I have created a new layer. I'm going to tap that layer. I'm going to tap mask. Then it creates this thing called a layer mask over top. Making sure that the layer mask is selected, you'll know by the layer that is the brightest blue. I'm now going to paste from the clipboard, that texture. Now, it doesn't look like anything happened, but you'll see in the layer mask thumbnail that it's now black. That's that black texture applied to the layer mask. We just want to tap that layer mask and tap invert. You can see some of those artifacts in the little layer mask thumbnail. But basically, what's happening now is anything that we draw on this layer will take on that texture, and I'll just fill it in with a solid color to show you what I mean. I'm making sure that layer three is selected, not the layer mask. I'll just drag that in and there you see all that texture showing through. Now, let's just undo that color fill. For a moment, let's draw a doodle. I'll just use one of Procreate's inking brushes. It can be any color. Just make sure you're drawing it on that layer and not the layer mask. I'll just draw a guy. And the next thing I'll show you is how to make a clipping mask. So we'll just create a layer above everything here, and I'll choose a different color. It can be any color right now. We're being random. I'll choose this purple. I'll fill that in. And as you'd expect, it just fills in the whole area with a color. Just a solid color, no texture. But if I tap this layer and then tap clipping mask. You'll see that my happy sad face is now this purple color. If I change the color of the fill on that clipping mask, The happy sad guy changes color along with it. And so the way the clipping mask works is it gets attached to one layer below, and so that's this layer three. And anything that happens in that clipping mask will get applied wherever there's artwork below. So I could just draw in anywhere on this clipping mask, and it will only show up where there's or pixels in the layer to which it is clipped. I'll just color this clipping mask to pale yellow for now, and just quickly summarize what we've gone through. I've shown you how to turn that texture into a mask. The mask gets applied to a layer, and anywhere where there's white, the artwork on that layer will show, and anywhere where there's black, the artwork will be masked out. That's why they call it a mask. A clipping mask, in our case, will basically change the color of any information on that layer below. I know it's confusing because we have this layer and it has a layer mask applied to it, and then there's a clipping mask applied to that layer with the mask. What I could do is actually just rename these, so they're more helpful. What don't we call the layer mask? We'll call that texture. We'll call that texture, and then we'll call the clipping mask up here. We'll just call that yellow. We'll call it yellow fill. And so anything that gets drawn down on this layer in layer three will be both textured from the texture mask and the color yellow from that clipping mask. We can just rename this layer to yellow artwork. Any art that we draw or make that we want to be yellow in this case, we'll go on the yellow artwork layer. Just a few more things I'd like to do before we move on to the next step. First, I'm going to lock that yellow layer. I'm going to lock that texture layer. We shouldn't ever need to change those things once we've made our decisions about the texture and the color. Finally, I'll group all these together. I'll turn them into a group, and this just helps us stay organized. What I'm going to do is give a name to what I've just made here. This group of the yellow artwork, the texture, and the clipping mask yellow fill. We'll call that a color separation group. I'm going to rename that to yellow color separation group. At this point, we can erase the artwork there. And we're going to use this yellow color separation group as a template for two more color separation layers. For a second color, we're going to just duplicate this whole hiving. We can hide the yellow color separation group. We can figure out what color we want to make this in a moment. But the first thing we want to do is sample another one of our textures that we made. So let's just go to this texture mask. And we'll unlock it because we do want to clear it, so we'll just clear that texture. This currently has no texture and we can then go back to our scans. I will choose another texture here and just copy that. And go back into my final map. Making sure that that goes somewhere independent. I'll just paste that into the file. Just like the last time, I'm going to fill the screen and make sure that it's as dark as possible. Now, this one didn't turn out so well on the left side, to compensate for that, I will paste that same thing down again. And maybe just do a little overlapping. I can set the blending mode of this to multiply so that the white is hidden. The next thing that I can do is I'm taking the selection tool and I'm taking out all of that extra texture there that's over the other one, making it too dark. Let's just see how we can make this a little bit more chill. What I can do here, is go back to my sponge texture stampi brush. Make sure it's black and just use my apple pencil to blot those out. Now, if I want to take some of that blackness out there, what I can do is temporarily create a mask, and then using black as my color on that mask, I can mask out more of that texture. So what I'm doing here is just editing my mask texture kind of on the fly here. I will merge all those together and maybe just add in a little bit more of that sponge texture to fill in some of those lines that are too obvious. Then once I'm satisfied with the mask, I can copy this. Hide that texture because we don't need it anymore. I'll just tuck it down there. Then back on the texture layer mask in my copy of the yellow color separation group. I'm going to paste that mask again. And you should see that nothing looks different. We will just invert that texture layer mask, and you can see in the thumbnail or at least I can that the texture has been applied there. And just to prove it, what we can do is do a sill again inside that actual layer and the artwork layer. As you can see, it has taken on that texture. Now we don't want yellow and yellow. We probably want a different color. Let's do a blue, and of course, we have to unlock it, and we'll drag the color in there and everything looks good. We can just rename things. We'll rename the entire group to blue color separation group. And of course, we can rename that to blue color fill, and rename this layer to blue, and it will be blue later, even though it looks red in the thumbnail, blue artwork. We can just clear the sell for now. Before I go unlock the mask and the clipping mask. Like I did last time, I'll just duplicate that one last time because I'm going to create one more layer with one more new texture in one more color. In the Inky style, I usually have two or three brighter colors and then one dark color. Sometimes that can be black, sometimes that can be a dark maybe that I often use. In this map, I want it to be dark reddish because that reminds me of wine because this is Napa Valley, I think there should be more of a red wine feeling. It's very subtle. It really should just be dark and less saturated. But I think this will work well with the palette. I'll just go and fill that layer with my new dark color. We will call this dark. Replacing our color name in each layer. Of course, we still have to change that texture. I'm going to clear the texture. And find one more texture to sample from my scans. Maybe go onto this file. There's some nice stuff happening here a sit copy, and we'll just go somewhere above those layers so things don't get too confusing. And we'll make that big in our canvas. Maybe with this one, I'll leave just a tiny bit of the edge exposed. With this one, I think I can just use black with my sponge brush. And tap out that line. Perhaps I'll rotate it because I feel like a lot of the stuff that I was tapping out was on the left. If I bring some of those more white areas to the right, that'll add more variation to my layers. I'll just copy that and tuck this layer down here and hide it. Then going back into the texture, making sure it's selected in my dark color separation group, I will paste that, and then I will invert it. And I will test it. You'll see that I filled the wrong thing. I filled my texture layer. I'm going to undo that. I'm going to go to my dark fill, which I've already done. I'm going to go to my dark artwork and just fill that in. As you can see, it's taken on the color mask color, which was that darkish purply color. That's a really nice texture. I think that one turned out better than the others. But we can clear that for now. And there's a few more things that we need to do. First, let's make sure we lock the layers that we don't want changed. Those are the fill and texture layers in each group. The last thing we want to do is set the blending mode to multiply for each of the artwork layers. What you should have by this point are three color separation groups. You'll have two more colorful ones and one dark one. The texture and the color fills or the clipping masks should all be locked, and then the artwork layers themselves should not be locked and they should be set to multiply. We can now remove the texture layers. We don't need those anymore. We can just delete those. Finally, what we can do before ending this step is just testing out how these colors blend together. If we want to adjust how those colors work, we can make some adjustments to those in the fill layers. Let's go to the yellow artwork layer and choose a brush. I will use ink bleed and it doesn't matter what color I draw and on this layer. I will all be yellow. On the yellow layer, I'm just going to draw some random shapes and then fill them. And then I'll do the same on the blue artwork layer. I don't even need to change my color anymore. The color is chosen by that colorful clipping mask. And finally, the dark layer. Again, all I have to do is select the dark artwork layer. I don't need to change my color. And that should automatically choose my color for me. This is really an example of how my colors are layering over one another. This texture that you see in each of the layers is from that layer mask, that texture mask, that is not coming from the brush itself. Feel free to play around with some of your brushes if you've made and just get a feel for working in procreate in this new way. Of course, if you want to play around with different colors, maybe I'd like to change the dark fill. All I have to do is unlock that and fill it in with something else and see if I like that instead. Now, while I love this pink over everything else, I still want to keep a darker color. Perhaps something more saturated. Maybe something more unsaturated, maybe more blue. And then once you're happy with your chosen colors, you can make sure those fill layers are locked. And then it's pretty much time to start actually building out your final illustrated map. So we're at the end of all the preparatory stuff. L, we've done our sketches, we've made our brushes, we've prepared our file and made those color separation groups. Now we are ready to start making our final illustrated map, and we're going to start doing that in the next video. M. 15. Final Art Part 1: The Base Map: All right, we have really gone through a lot of steps to get to this point, but we are finally creating the finished art for our illustrated maps. Now, in order to get started, you're going to need the file that we created in the last step, and that is the one with the textures and the colors that we set ultimately in these color separation groups. And as part of that file, of course, you'll also want to include the sketch, that finalized Mode sketch that we created a few steps ago. And maybe as a first step, we'll take that sketch bring it to the top of our layer groups, and we will make that visible. But what we want to do is make it so that we can see all of our art that we're creating through it. We can set the opacity down to 20% or so, and that just makes it faint. But we can make it even more transparent to things that are happening below that by setting the blending mode to multiply. Then anytime we want to see the artwork that we're creating without that sketch in the way, of course, we can just hide it. Now, another thing just to note is that if you were following along in the steps before, you might have some artwork still in your color separation groups on those artwork layers as you were testing things out. I already went ahead and tap that layer and hit clear and that made sure that those layers are now fully clear. I'll just keep in mind that this process is going to be different from how you're used to working in procreate. Normally, we just create a layer, we choose a brush, we choose a color, and we start drawing in over it. This is a much more technical process, and it will require you to work in a way that feels counterintuitive, but I'll do my best to explain what I'm doing. So just follow along and trust that it's through this process that we get that nice analog inspired inky map look that we're all going for here. So I'll just get my sketch visible again there. We're going to go roughly through the same order that we did in the i mode or refined sketches for a map. We'll start with the geography here and I'm going to make sure that I'm on the color that I want to make the land. I'm thinking I'll use the yellow here as my land color. I just make sure that yellow artwork layer is selected. It really doesn't matter what color I choose in the color picker. Any color that's selected will show up as that yellow, as long as I'm working on that layer. Then in terms of the brush, I will use one in the inking set here called Ink Bleed. Again, all the brushes I'll be using in this demo come with procreate, and the ones that didn't come with procreate you saw me make in a previous lesson here. So with my inking brush set, I will search outlining anywhere where the land meets water. This is how I define the basic shape of my map. I'm just following the sketch. In that sense, I can really sink into cruise control here. There is a bit of a river or a channel down here, and I'm drawing in a nice confident singular stroke for the outline of that map. Anyway, what we want to do next is just fill in this land with the color. Now, I'm going to hide my sketch momentarily so we can see if it's the fill is going to fill in all the way. If I have a lower threshold value set in my fill when I do this drag and fill. You get this faint gap between your outline and the fill area. Just make sure you fill in that area with a higher threshold. The way you do that is just drag your pen or your apple pencil to the right before you lift your pencil. Again, what I did is I'm dragging in my fill into the shape that I want to fill, and just making sure that the threshold is up, maybe around 84%. And that will keep that setting as you keep filling. Once your land is filled in, you can go and fill in your water. I'm going to go to my blue color separation group that I created before, and I'll just use the exact same brush to do pretty much the same thing but this time for the water. Now, as I'm drawing in this line, I want to make sure it overlaps. There's no white gap, where the water meets the lamp. Because of how the layers are multiplying over one another. You will get this darker bit of color, where those edges slightly overlap, and that's exactly what we want in an inky style. You can even see some of those textures of the different layers showing through as well. Anywhere where there's not quite a good overlap, you can go back over very carefully with your incher. I'll do that now. For this part down here as well. You can be a little bit lousy goosy here. The lousy goosier you are with your edge, the more overlap and accidents that you'll get in terms of it won't be a precise registration of the one layer over the other, and you want that, you want to show those layers overlapping a little bit because that's the look we're going for. You can see that green that results from the blue multiplying over the yellow in my case, and I like that. That just about does it for the land and water. At this point, I'm ready to start bringing in my roads. I'm going to reactivate my sketch so that I can see that and I'm going to choose a brush that is wide and flat for the roads. If I go over to painting and choose a brush like flat brush, that's going to give me the k brush that I'm looking for here. Now, I took this default brush that came with procreate and I modified it and I created one called flat brush Roads. I just duplicated that brush and then changed a few settings and before I start using it, I'll show you what those settings are. I went into properties and I basically went down to brush behavior, and I made the maximum size 100% before this was set to really big and it was like a size that I would never use. I also set the minimum size to 3%. I also changed the maximum and minimum opacities both to max. The problem that I had with the brush as it was made by procreate is that if it's pressure sensitive basically, and the less pressure you give it, the more transparent it is, but I want my roads to be solid and for there to be no variation in that solidity. I want it to be always opaque. I made that I made the maximum and minimum opacity all the way to the max. I have to think about what color I want my roads to be. Do I want it to be blue? Well, if I make my roads blue, it might look like a river, or if I made it yellow while it's not going to show up, I could make it dark, I could try to make my roads dark. And we can give that a try. This is my dark reddish wine color showing up as brown as it goes over the yellow. Now, I don't want my roads to be brown because I want that to be for. I basically want to reserve the dark color for other types of details in this art. I'm going to make them white. I'm going to make my roads white. Now the question is, how do I make white in this map? I can't just go and add white as I normally would. Well, not exactly. What I'm going to do is create a temporary layer over top all the other color separation groups that I've made, and I can just work out what my roads are going to look like in white before I commit them to one of those color separation groups later on. What that looks like is just what you'd expect. Drawing with a brush and procreate and with these roads in my style, I'm doing my best not to make them too wobbly. I want them to almost look like they've been streamlined, but not that perfect. What I mean by streamlined is if I were to do the press and hold thing, procreate corrects things for me. I makes things more perfect shapes, but I don't really like how perfectly it makes them. Sometimes it overcompensates a bit. I like to do it by hand, but in a very controlled way. Anything that I don't like, like these edges here, I can go in and correct later on. What I mean is I can go and take an eraser and clean up some of those edges, but I'm getting ahead of myself. I'll just draw on the roads as best as I can for now on this temporary white layer. Now, at every step, I want to take a moment to hide my sketch and see how things are looking. I find that there's actually too much variation in my roads in terms of the line thickness. I could just erase and start again. But what I'll do is I'll just take out part of it. I'm finding this part here is a bit too thick. Actually, what I'm just finding here is that I need to change another setting in my brush because as I zoom in and out, the brush gets thicker and thinner. What's happening there is that the brush size is set so that it stays the same size in pixels, no matter how zoomed in I am. I've just tried to correct that weird scaling thing with my flat brush, it's actually not a brush setting. It's a more global setting in procreate. I'll show you what I mean. So just going over to the wrench here to preferences for some reason, I had unchecked dynamic brush scaling. I want dynamic brush scaling activated, and that should solve the issue I have with my brush changing sizes according to Zoom. And as you can see it has. So because of that, I'm going to go and clear everything out in terms of my roads and start again at a size that works better for me. And it seems to me that a size of around 20, 21% will do just fine. And this eliminate the problem of the changing brush sizes Now, if I show the artwork only without the sketch. You can see that I've solved that mystery. All the lines are very consistent now and that's what I want. I want those roads to all be consistent. Now, before getting onto the next step, what I'll do is just touch up some of those joints there. I'm going to go back to my. I'll find that in my recently used brushes, the ink bleed brush. With that selected, I want to turn that into an eraser. I'm going to just tap and hold the eraser brush, and that will activate a race with the current brush. It basically turns whatever brush you currently using into the eraser as well. I just want to eliminate those glaring little weird glitches that don't look intentional and they don't look controlled, either. There's a difference between some things that are unintentional, but they're happy accidents, and you like how they look, they add to a spontaneous analog feeling. Then there are other things that feel a little bit more just like a digital brush, acting like a digital brush, and not being fully controlled by the person using it. I've gone and added my roads and you'll remember I created those on a spare hair over top. They're not part of the final artwork. What I want to do, now that I'm happy with those roads, I can commit to this. Is carve them out of the artwork. The only artwork these are going over right now, mostly these roads is the yellow land. I can take this layer, just tap at once and make a selection from it. Then I'll hide those roads and I'll go down to the yellow artwork layer down there, and I will now go cut. What I've done, and you can see that down in the thumbnail of this layer. It's actually cut the roads out of the land. The roads are permanently etched out of that layer now. If I ever want to change anything again, I might have to fill those roads back in with yellow and start again in the way that I just showed you using the spare layer. With those roads in place, I'm actually ready to start adding some of my basic symbols. I want to do that on my dark fill layer. I'm going to go to my dark artwork and then go to my brushes. And I'll use one of my inky map brushes and I created two dot brushes. One is a little bit more distinctive than the other. It has a washed out part in the middle. I'll start with dot two because it's less conspicuous. By that, I mean, if I repeat it, because it doesn't have anything to particular about it, you won't notice that I'm using the exact same brush every time. What I'm going to do is make that a little bit bigger. I will probably try. 30% is perfect for the bigger dots, and those bigger dots are actually going to be associated with the icons. I'm jumping ahead here. I'm just going to undo those because the city dots is what I'm actually trying to do right now. I will bookmark the sides that I just was working in because that's going to be perfect for the icon call outs. I'm going to actually try something closer to maybe 23% for the cities here. I'll just bookmark that size as well. And just tap that there. I was just pause here and hide the sketch so that we can see some of the beautiful little happy accidents that I'm going for here at work. You can see that that wine colored purple is overlapping the white and the yellow, and you can see where wherever it overlaps the yellow, it has a almost more brown color. But the important thing is that wherever it overlaps, it creates that extra dark color as it interacts with the other colors or the inks that I'm simulating here. Now I'm going to move on to the lettering. I'm going to do those also in the same darker color. What I'm going to do though is just work those out on temporary layer, I'm going to create one Up here just under the sketch, just like I did with the roads when I was working those out. To start, I'm going to just write out the various city names or town names that I have here all in the same style at the same size, and I will later cut and paste those at a smaller size. That's a way of creating just a slightly more refined look in my hand lettering. So I'll see if working just slightly bigger works. What I didn't show you is that I just activated my drawing guide. I went to actions here in the wrench menu and make sure that the drawing guide is turned on, and that's how I got this grid. I've got lostoga, Now I'm going to do Oakville. Next, will be Selville. Trying my best to make these all consistent in the same style. So all on the same angle of a slant as much as I can help it and all relatively the same size. My tendency is to want to overctrol. I'm looking at my lettering and I'm feeling like, I want to make the more perfect, but I'm going to just accept them and then place them. There's one little thing that I might do just to enhance them just a tiny bit, partially because I can't help myself, but also because I'm seeing some things that I actually need to fix. If you look at this, the way that brush left it, it left this spiky spur thing that to me looks very digital and unnatural. It also happened at the end of Kenwood and Napa. And so I'm going to go and use my eraser. I think it's still set to the same brush to ink pled. I'm just going to go and clean those up a bit. This is one reason I work at a larger size, then I intend on setting my labels because I can see the mistakes and I can correct them at this larger size, and then later, When I shrink them down, they will just pretty much disappear. While I'm here, I'm going to just clean up these terminals of the letters. This is just something that I typically do any way with my lettering, but I want to again, be careful just not to over correct and over perfectionie these things. O perfectioniz. I don't think that's a word perfect. Just to create less of obviously digital brush look. That's really what I'm trying to do here, and it will also enhance the clarity of the letters to do this. The next thing to do is to shrink these down to the size I'm going to end up using them roughly speaking. So just a little bit smaller, and that'll do. Then of course, I will just move these around by selecting with the free hand tool, the free hand select tool, and then hitting the arrow, and then moving them to where they want to go. Now, you can see that it just masked out my artwork. This is a glitch that happens when you use the technique I'm using. When you're working in these color separation groups, whenever you do a free hand copy and paste operation like I'm doing here, you're going to run into that. With lettering the work around is to actually do your lettering outside and an external like a new canvas in procreate, copy that and then paste it into the work later. But Because of the fact that my sketch has all these places pretty much where they need to go, I can still place these accurately. Now for NAPA, I'll just resize that up again a little bit. Want that to be bigger, and then I can just hide my drawing guide. Hide my sketch and do a little quality check. So I really feel like the map is coming together nicely here. Okay, so I have a very basic version of my background map with a few cities and a few labels. Now, of course, there are some cartographic symbols to add. There's going to be a lot more details to add here, but I think that with what I have here is enough to start actually illustrating in my icons. So that's what I'm going to do now. 16. Final Art Part 2: The Icons: All right, so as we begin to illustrate our icons, we want to make them all consistent. We want them to all be consistent in how much detail they have, in the kind of details they have in the balance and usage of color, and all that. And so the way I achieve this consistency or at least part of how I achieve this consistency is I batch how I do the colors. And this is actually helpful when we're illustrating in this technique that we're using anyway. I'm going to start by creating areas of white for all the icons. That's going to require creating what I would call a base of each illustration. I'll show you what I mean. I'm going to go to my temporary layers up here. I'm going to create another temporary layer for my icons and we'll work in maybe the flat brush. I'm going to use the flat brush, but at a really small size. At this point, we're blocking in the white background or base for each icon. We'll add in details later. For this icon, it's going to be just the Gonda for now, and for the Castello castle tower here. It's going to be pretty much the whole icon. I'll draw the whole outline, fill it in, and then actually use an eraser to cut out those cnylations, so that they'll have an even width more or less, and I'll just draw back in. Where I over erased. Then I'm going to use a smaller eraser tool. We'll say we use the ink lead brush just at a really small size just to correct some of those little quirks and glitches. You can see that I'm doing all the icons on the same temporary layer here, a reminder that when you're working on a temporary layer, we're back to normal procreate land, where we're drawing things in the color that we set in the color picker. Things are acting more as we expect, drawing or painting is painting or drawing and erasing is erasing and nothing's upside down or backwards for openings like windows like this, I can knock those out. In this case, I think what I'll do is just use the selection tool and cut that out in bigger chunks like that. That is also an option. One way of doing these icon bases is just using the selection tool and drawing them in like this, which behaves a little bit more like the pen tool. But it has its limitations too. I sometimes get a little bit of this weird warble or just a lack of control that brushes will give you. I'm going to draw these in again with my smaller set flat brush, drawing a little bit blind over those white roads, but that's okay. Then I'm going to just use my selection tool to carve out those wheel wells. Sometimes cutting out a window out of your basic shape here is a chance to let the background and foreground mingle together rather than just having the icons look like they're just stuck on top of your illustrated map. By allowing some of the illustrated map to shine through these little windows and holes and cutaways. You get more integration of the various elements and the background that they're over top. I'm going to leave that little smoke stack thing where it is for now and maybe draw that in later if I need to. Moving on to the Farms stand here or to the Oxbow public market sign. Fill that whole shape in just one thing to note with this particular shape because that sign is in real life, this sign goes down much further. We're looking at just the top of the sign. There's a continuation at the bottom part here. At some point, I'm going to make that gradually integrate with the background. But for now, it's going to be a hard line. I can edit that later. I pretty much have the base like that white base for my illustrations. I might return to the Napa Valley sign at a later time. Let's just focus on the point of interest icons to start. But what I want to do now is commit what I've done here to my color layer. I'm going to make a selection from this temporary layer, I'm going to tap it and then hit select, and then I can disable that layer. I want to keep it in case I need it later and then go into my yellow artwork. Then simply swipe three fingers down and tap cut. You can see in the thumb now that it just removed some of that yellow artwork. Now, as you can see, there's some river showing behind the Oxbow icon here, and that's an instance where I'm going to need to remove those same shapes from the blue texture as well. Now, I could just go and use eraser on that layer and just remove it like that. That's probably a very efficient and valid way of doing that. But in case you have more blue elsewhere or lots of artwork that you need to remove in the same shape, you can reselect the selection you loaded from your shapes, and to do that, just tap and hold the selection tool. It will remember the selection you made last, I'm going to go onto my blue artwork layer and do the same thing. I'm just going to swipe down and hit cut, and it makes this perfect cut out of the river color there. Now it did cut out at funny little glitch there, and I will just draw that back in using my ink bleed. But this is actually going to change soon because of that fade effect that I'm going to put on the bottom of this later. For now, I'm just going to leave it. I'll figure that out in another step. At this point, I want to add my second color and I only have blue yellow and this wine color to choose from. I think blue is an obvious choice for a second color. I'm going to just draw my details, whatever I'm going to draw on blue directly into my blue artwork layer. This is different from before when I was drawing things temporarily on its own layer. That's a way of doing things as well. But in this case, it will be simpler and faster, just to draw this second color onto my icons directly. I'll just go back in with the eraser to knock out the dividers between these panes or wherever the doors on this case come together and move on to my second icon here. Now, the food truck in this case is actually red and white, but since I don't have red, I can see if blue will work. When you're working in a limited color palette, it's fun that you get to work in the wrong colors, so to speak, and that's what makes an illustration like this more interesting. I may decide later that the dark wine color might be more appropriate for this. But for now, I'm going to play around with the blue and see if I like that. Same with this sign here. I remember this up here. Was red? If I apply the logic of things that were red are now going to be blue in this illustration, then I might as well be consistent. Again, I'm making sure that my color layers overlap at those edges. At this point, I'm just making stuff up, adding blue in an even way to all my icons, even though blue doesn't really occur in any of these. Now I'm just wondering, is there anywhere else where I want to add this blue artwork? How about as the stripes on the food truck awning here. What I'm going to do is actually going to use the selection tool again and color fill is still activated. This should fill this in with blue once I close it. It did. I'll go to the eraser tool and just make sure that I have flat brush selected and see if it's in a size that's appropriate. I want it to be a little bit smaller and then bit by bit, I can just erase out each of those stripes. From the awning. I see some other places where I can add blue that actually just happened to be over yellow, not over the white blocky areas that I created, and that's where we're going to get a green. We're going to get a second color by overlapping our colors. I'm going to stay in my blue artwork layer. I'm going to go into my ink bleed brush that I've been using. I will start with the chimney of the food truck and just make that something I can fill in. Now, for the palm trees, I'm actually going to go and choose my six B pencil. I think that will just work better for this object because it's organic, it's leafy, and I'm going to add just a little bit of desirable variation. I'll do that with the palm tree, little palm palms at the top there, and then for these evergreens. It just allows me to have much more expressive line than what that bleed anchor brush can do. That one's less varied. I'm just going to start with these and I'm just drawing these directly onto my blue artwork layer. They're basically the same layer as anything else that's blue here, and I can show you what I mean. Everything is on that blue artwork glare. Now. Now, what about the mountain in the back? I want to get that mountain in there, and I want that mountain to be green, I don't want there to be a hard edge at least on the bottom. I will go and take this selection tool and create a mountain shape, using the free hand selection tool. I'm going to just draw a larger base than I need down there, round and I will turn off colorful, I don't want that. Now I'm going to just draw in using my six B pencil, using the side of my pencil, this more gradual grainy way of showing that. The more I get away from the mountain tops toward the bases, I faded out. I'm relieving my hand of the pressure down the bottom, everything's softer, just like you would expect a regular pencil to do as you stopped pressing hard. I'll just go back in, maybe my eraser tool set to ink bleed. I'm going to go back and remove this part here. That is something I could have masked around using that selection tool before I started filling in with the pencil. But I'm going to correct that like that. This may be a good time to turn off the drawing guide. I haven't needed that for a while. Even to hide the sketch just to see how things are coming along. As you can see, there is still quite a lot of work to do to get the thing to look finished. But I'm liking how it's looking so far. I'm going to continue adding more details. At this point, I'm ready to start adding in some of my more dark color details, perhaps the wheels of the food truck or the windows or edges of the castle there, the cable of the gondola and so on. But one thing that I need to fix that I just noticed, before we move on is the fact that I have these labels in a color that doesn't exist in my palette. I drew those in in a darker blue on a temporary layer up here. They need to go on one of my three color separation groups here. Just like I did before, I'm going to load a selection from my temporary layer, in this case, it's my lettering and to do that I just tap the layer and hit select and make sure that color fill is not activated, and I now will hide that layer, that temporary layer. I'll go down to the dark color separation group. This is where I want to add those labels, and I will just tap and hold the selection group again and do color fill here. And deselect, and if I hide the sketch for a moment, you can see this is really starting to look a lot more like an analog style illustrated map. Now, just like I've done with the blue there, I can use my ink, my ink bleed here to directly draw in some of the other details. I'll add in the wheels of the food truck here. Maybe a detail of the chimney. Perhaps I'll do the stems or the trunks of these palm trees. For these ones, I'm going to maybe the six B. No, I don't like that. I'm going to maybe try the roads and they seem to be set at a good thickness anyway. I just draw that there. Now, I did just draw right over my lettering there and I'm going to have to figure that out later. But for now, I'll leave it alone. I use my six B pencil just to erase the bottoms of those bit. In fact, I'll give those a much more gradual little end because I'm going to put some greenery In front or behind them. Figure that out. Now for the castle, I'm finding that adding just lines, exhibit to harsh looking or something for me. I don't want to do this. I want to show dimensionality in a different way. What I'm going to do is actually load a selection back from the white shapes that I created those base icon shapes, and then making sure that color fill is not activated. I'm going to go back to my dark artwork layer and use my six B pencil brush set a little bit larger and just rough in with the side of my pencil, some texture, and that will just be one side of this tower, the shadow side of it in a subtle way. We'll just see how that works. I can also use my selection tool to take away some of that. I'm finding that really harsh. So I'm just going to use my six B pencil brush as my way of making that edge just a little bit softer. For the castle, I think I'm going to go and add back in some of these windows so that that yellow shape is showing through. And I can go and make some refinements later with the brush. And since I'm on this layer already, I can use my six B brush to bring back some yellow, just on the castle part here to make that a bit more gradual, so it's not such a harsh line. Drawing back in, erasing back out that yellow of the road. Remember that things are inverted right now because I'm working on the color separation layer. Anything that's in white is the absence of yellow. So anytime I want to erase that white, it's actually bringing the yellow back in. Go back to my dark artwork clare and I will erase out some of the dark color there, and we can hide the sketch just to see how the artwork is coming along. I have mixed feelings about how the castle is looking, how that tower is looking. Just for instance, the purple layer there is feeling a little bit out of place. It's a little bit down there. I'm going to go down and that purple. That is feeling a little bit better. I might need to re think how I do that castle. Perhaps what I need to do for the castle is just select this area here. Making sure color fill is not activated. I'm just going to cut that out. I'll see if it works better in blue. I'm in the blue artwork layer now. I want to add that same texture back in the same way. What I have to do is actually paste that artwork bit up here. I just so happened to be in blue already, that was lucky. But I'm going to create a selection from that, hide it. Now go into my actual blue artwork layer, and again, hold the selection tool, activate the fill. Now that fill is on this layer. I like that better. Now to do with what's happening with these palm trees, they look a little bit too procreate to me. What can I do about that? First of all, I can go to that dark artwork layer. Use my six B pencil to give it more of a texture and then use my ink bleed, to give it a little bit more of this palm bark patter, hoping that's not too detailed for this kind of illustration. What's happening here with Kenwood, I'm actually going to erase this lettering out altogether for now. We'll put that back later somewhere else. Can we use our sketch as our reference for what else we include. So for the food truck, I'm going to add the heck in some yellow, and this is where it messes with your head a little bit. We're adding yellow and it's going to look like we're erasing. But we're actually adding back some yellow. Like that. We'll knock out some of these windows, I guess, and that means filling it back in with yellow. And then to make this look a little less harsh. We will fix those edges by removing some of the yellow there on the bottom. Now I'm going to pick on the Oxbow. I had mentioned before that I wanted to make this more gradual at the bottom rather than a hard edge. In that yellow artwork, I'm going to add back in some of that yellow. I'm going to create a little bit of a mask here using the selection tool, so I don't get all in the road there. I'm going to just really be careful around the bottom edge at the top. I'm not so concerned. Now as I add this back in, I'm not erasing the road part there. I will just fix these little glitches here. Moving between erasing and drawing back in. Of course, I want this road to continue up here. That will be a matter of going back to my flat road brush and erasing, I guess. I'll go back to my dark artwork layer here, and I'm going to add in the frame for that sign. Of course, it doesn't show through the arrow sign in real life. So I'll just erase that. At this point, I'm really just trying to work out things that I couldn't have predicted in the sketches or that came up along the way. Just for instance, I'm finding the Oxbow public market sign really overworked, whereas everything else feels like simple and fun. The Oxbow public market sign, I have mixed feelings about it. I feel like there's just a lot more going on with it. Sometimes in cases like that, I just erase things and start again. I think I can do this a lot simpler while maintaining the spirit of this icon. That's what I'm going to go and do now. I'm going to leave a little bit of that texture there from erasing it just as an intentional imperfection. Now, I will draw back in or erase out those roads. I think I have 90 to 95% of the details I want in my icons. I'm just going to go and turn off the sketch for a moment and just take a look. Yeah, I think for the most part, these look good. If it's going to look more finished, I'm going to bring more texture into the white areas. I'm going to go to the yellow layer again and just add in using my six P pencil, some of that yellow. Just to give a little bit more character to these white areas, so they don't stick out so starkly. And then I'll go into the dark and see if there's ways I can bring some of that in. These are the little details that I don't mind being a little bit more sloppy with because I do want a little bit of an improvised feeling to this to a certain degree. Here, I'm just adding a bit of separation from the roads in this particular icon. Leaving some of the overlap. Now, I feel like this sign here needs more blue to balance things out a little. So maybe I will after all, take out some of that yellow. I like that. Okay. And now we can start adding the sign before we get into the labels. We'll do this sign in the way that we did the rest of the white sort of base icon illustration parts, which is adding a temporary layer using the flat brush just to create the general shape of the icon. A All right, so I have got most of my map done. It's looking like an illustrated map. It's inky. It's got texture. It's got that limited color palette. It's got lettering. It's got labels. Of course, there are a few extra details that we want to work out, including some of the cartographic symbols. Maybe a little bit more texture in the background and stuff like that. But for now, I'm going to set this aside, take a little break, and then we can continue in the next video. Oh. 17. Final Art Part 3: Final Touches: Alright, at this point, it makes sense to just take stock of how I'm progressing here in the illustration. So I'm going to hide my sketch and just look at what I've done so far. So I have my base map with the land area yellow and the water in blue. And then of course, I have my roads and those smaller towns with the labels in place. And then of course, I have my five icons in the three colors, the blue, the green, and that kind of wine colored colored color. I guess we can call it Burgundy. And of course, I have this Napa Valley sign has my title as my map title. I really love how that turned out. I'm super happy with that. At this point, I'm ready to start adding the finishing details like cartographic symbols like the mountains and trees over the land there, maybe some extra road names or highway numbers, and of course, the labels for each of the icons, and anything else that needs to be labeled. Let's go and start doing that. Let's try my sketch back on and At this point, maybe what I'll do is start adding in the labels for each of the locations. Just like before, I'm going to create a layer up here, one of those temporary layers, and I'll turn on the drawing guide. I'll just choose a color that will be visible over top all this artwork. It will get a bit messy. Maybe what I'll also do is add a white layer and just tuck that behind the layer that I'm going to do my lettering on. Basically what I'm doing is, I'm going to separately letter each icons label. Larger than it needs to be, just like I did the last time for the smaller city labels, and I'll pick an appropriate brush for this. I will probably stick with ink bleed and I'll see what an appropriate size will be. This will be too thin. This might work. For the icon labels, I'm going to do all upper case letters like this. For the most part, I'm trying to just do vertical. Or down strokes. Then with round ones, those are neither vertical nor horizontal, so I'll do those anyway. Then I'll come back and do the horizontals. Now the reason I do it this way is that by focusing on just one direction in batches, I have a more consistent stroke in each direction. I don't have to move my hand as much either. So it's more efficient, I find, as well. But most importantly, the lettering stays very consistent, and I'll fix the spacing later. So I have one down. So I have my four labels, and then Oxbow Public Market is self labeled, so I don't need to make one for that. Now, I'll just go in and make a few quick enhancements or refinements. Phew. Okay. I have done my lettering and I've mostly corrected the spacing. I'm just finding a little bit more to do here just now. I'm not aiming for perfection here, but just something possible. I want the spacing to be relatively even and just for there not to be any wide gaps that are g. Now what I want to do is just make sure I have the set up. The way I want them when I place them in the illustration. I'm going to tighten up the letting or the vertical spacing or the line spacing of the multi line label here. It's just this one, the culinary institute. It's just a really long name. It has to go on separate lines. I probably also want to center everything on these lines here just with this one. Eyeballing that. The next thing that I want to do is just duplicate this layer. Oops, I deleted it. I want to duplicate it, and then I'll just hide one of those layers. The reason I want to duplicate it is one case I want to go back and make changes to the original, but this one I'm going to do some destructive edits to. Basically, I'm going to shrink everything down by about 50%. Or more actually. Basically to about the size, I roughed it in my sketch. So I'm just comparing it to what I sketched in here for sterling vineyard, something like that. What I'll do is just start placing these where they appear in the sketch. Right now I'm finding snapping to be annoying, so I'll turn that off. Me a typo. This should be Castello D MR Rosa. I'm going to do a quick little surgery here. I should do. Make sure those are on the same layer. I'll take this one. Down here for a sec. Mind this here. Go right there. So I do have to turn this three line into two lines or just shrink everything in this case because it's so long. I think what I'll do is I will shrink everything down just a little bit. So that the culinary institute pits and then re arrange everything back in their right full places. With these four labels now lettered and in the right place, I just need to create a selection from that layer. I can turn off the layer, and I'll also hide this white layer here that was masking out everything else. I'll go to the dark fill layer, making sure I'm on the artwork layer, of course. What I want to do here is fill in all the letter shapes. The way I'll do that is hit color fill. I see that perhaps I got this label a little too close. I need to redo that. Okay. I need to go back up here and just move that down, Tad. And we'll see how that looks. When I remove the sketch and turn off the drawing guide. I'm loving it. Okay. I think I might want to move Castello Derosa up a little bit. So I could just go and select this artwork here and try and nudge it up, but I will have to unlock the texture layer to do that. It won't let me select and move one layer. Without unlocking the mask. We'll try that. I think that's looking much better. Now, up here, it looks like things are getting a little lost in my sheeting there. Now I could move that all down. That seems to be what I need to do. I do have to restart the process yet again, going back here and just moving this down and This joy that. Looking so good. Okay, I just love when lettering starts taking shape in the map. And I'm also really happy with how these colors are turning out. They're not my usual colors, especially this burgundy, but it does really have a beautiful vitae feeling to it, and it feels to me. The next thing I think I'm going to do is add the call outs. So that will involve adding some location dots for each of the four icons up here. And then some call out lines. I'm going to do that all direct on the dark artwork layer. I go to my trusty dot shape in its larger size and add those where they belong. Then of course, I will go to my trusty ink bleed pen and add the call out lines directly on that dark layer. For this, I'm going to rely on quick shape to make those lines perfectly straight. I'd like to also just sheet the terminals of those lines so that they feel less procreate brushy. The next thing to do will be to add the root numbers. The next thing to do will be to add some of those cartographic symbols. Now, for those, I think I will go with the dark color, and I'll just choose mountains to start, see what I get. Here, I'm trying not to overlap any of these labels over other elements in the same layer in case I need to edit them. I can just go in and edit out anything that I don't want to be there. I'm just changing some of these just a little bit so that they're not so obviously cut and pasted. Little subtle edits to each of the mountains to give them a little extra variety. Another thing I can do is actually go in and move some of them around a little bit. Just a little extra time to make these feel a little bit more random. Now, go back in my layers panel, make sure that texture layer is locked again. Now I can add in the trees, and maybe I will add the trees in on the blue artwork layer. Trying to find a good size for those. Now, I'm not a CN of the brush that I made to be honest. I think what I'll do is go back to my original layer here. Choose one tree semble. I need to make this as square as possible. Now, I'll just add some tufts of grass also in blue. Hopefully, this will work nicely. I think that's a good size. Of course, we need to get some waves in that water. We'll see how this works here. Okay, I'm just looking at my final map here and feeling like I'm so close to finish line. I just want to add a little bit of extra texture to the mix just to help blend some of the elements together more and give it just some more of that inky texture goodness. So I think what I'll try to start is my sponge brush. I made two different sponge brushes earlier, and Perhaps this will give me the kind of grain that I need. I'm going to test it out on a temporary layer up here just to start before commuting that to one of my layers down below. I'm going to just sample the purply color, and then see what it looks like as I just tap it in there. And we build it up a little. I'll do a little multiply here. So I can really get a sense of how it's going to look. On this temporary layer, I think what I'm going to do is just Use my six B pencil as an erase or just to tone it down a little so it's not so obvious and strong. Making sure I clear out where it's really getting in the way of other things so it shouldn't be getting in the way of. This is a really good reason to use a temporary layer sometimes, especially when you're working in an element that's going over lots of other elements on the same color layer. I'm trying to allow myself to still be a little bit loosey goosey, but control where this stuff is ending up. For the most part. It's okay that some of it's going to add some texture and grit to things. Keep in mind that anywhere where it's over its own color like here, that will disappear once I add that to the burgundy color layer group. I want the labels to really be able to pop. So I'll make sure I clear around those labels as much as I can. That is looking really good. I don't want to get in there and try to control too much more. So I think what I'm going to do is look for any glaring parts like there. And then I will load a selection from that layer. I will hide that layer. Now go in on that dark layer here. And we will do the long press there and color phil. Bob's your uncle. So at this point, I am done the illustration. I'm really happy with how it turned out. I just have one more little thing that I'd like to do. And this is something that I recommend that every artist does when they have finished their piece. And, of course, that is to add your signature. Be proud of your art. It doesn't matter where you put it. I find that the less I overthink it, the better. Otherwise, I start worrying about where exactly to put my signature, so I'm just going to put it there. It's not to in your face, but it is there, if anyone is looking for it. Now, at the end of most illustration projects, I kind of get sad that it's done. I just want to keep working on it. So I can't help myself, especially at the end of a map class. I'm going to add a compass rose to this. Okay, I think I am done this illustrated map. I want to keep working on it because I'm having so much fun, but if I do anything more to it, it's gonna be overworked. So this is it. I'm done, and I'll see you in the next video. M 18. You're Done, Now Share!: Alright, you have put in all that time and hard work, and now it's time to share your beautiful Inky map with the world. The first place I recommend sharing is, of course, here on the class projects page. This is the best way to get feedback from others, including from myself. And it becomes a part of the class projects gallery which inspires others to take this class and it shows them what's on the other side of all that hard work. Of course, if you're on social media, please do share it over there as well, using the hashtag Inky Maps for Pro create. I'm on Instagram at Mr. Tom Fros. Thank you so much for spending all this time with my class and for all your hard work. Thank you for choosing Inky Maps Pro create edition. I hope you enjoyed learning from it as much as I enjoyed teaching it. If you have any questions along the way, please feel free to ask on the class discussions page or let me know in your class project if you have any specific questions related to your project. If you love this class, please be sure to let me know and let others know by writing a review. If you'd like to go deeper in this class or in your journey as an illustrator, I also offer Custom one on one coaching for an additional fee. You can find more information about that here on my Skillshare profile page or over at tom fros.com slash Coaching. Thank you so much for taking this class. I'll see you in the next one.