Inky Splatter Illustrations using Adobe Fresco Watercolor Brushes and Brush Selection Tool

1. Class Introduction : Hey, I'm Heidi Cogdell, an artist and illustrator living on the Oregon coast. In this class, we use adobe frescoes alive watercolor brushes to create to splatter ink illustrations. I'll walk you through using watercolor life brushes. You get a chance to explore how all four brushes work and how to better use them in your inky illustrations. Then I'll walk you through the process of creating the floral and jellyfish inky illustration. First, we'll trace our line art. Then we'll use the brush selection tool in different ways to achieve your inky look. We'll move on to smearing M, pleading our inky layers and adding splatters. Finally, I'll show you how to use your layer, blending modes to finalize your inky look. Inky looks can be achieved digitally. It's satisfying and therapeutic toe work with digital ink, and there's no mess. By the end of the class, you'll have the techniques and the know how to create lots of beautiful, inky splatter illustrations, and you'll have completed two inky illustrations that you Compper now in share with someone special. So let's get her ink on. Join me in the next lesson 2. Lesson 1 - Using Adobe Live Watercolor Brushes: So before we begin working on our wiki illustrations, I'd like to start out by playing with the watercolor live brushes that Adobe Illustrator provides. There's four different watercolor brushes that Adobe offers. The 1st 1 is the watercolor round detail. The second is watercolor Wash Soft. The third is a watercolor wash flat and the fourth watercolor wet spatter. So the first thing that we're going to dio is we're going to give ourselves a little template to play with. This is a image that you can download and insert into your fresco so that you can play with it just like I am here. You'll be able to find that in the resource is section of the class. Okay, so now that I've inserted that image, I'm going to add a layer on top of it. Let's start by Swatch ing out each of the brushes and how they react to a dry paper and how they react to a wet paper. So how did we get it to react to a wet paper? First thing that we're going to dio is we're actually going to create a square selection by going to your selections in getting the box and then highlighting the bottom portion of your page with a very large brush. Turn off all of your color and will probably put about 40 percent of water on there. And then you're just gonna drag your brush all across the bottom of that paper inside that selection area and you're going to be actually laying down a layer of Clearwater. You can't see it because it's clear. So, as an example, if I were to do this with a color, let's take the same brush. And when you drag it across your page, see how it's dropping the water all over that selected bottom section of your page. That's essentially what we're going to be doing with clear water. Okay, so going back, creating the selection into my large breasts was clear water. I'm going to drag that brush across the page and drop in a lot of water now because the baht important of the pages went when I touched my brush. Later on down there. It's going to actually activate against the wet portion of the paper. The page is not going to dry because it digitally it stays wet, so we'll work with the wet area. First, let's de select our box. Okay, so let's start with the watercolor round detail. Brush will want to use full blacking. We can use a fairly small brush, and we can keep a high water flow for this first stroke. Now, I want you to see what it looks like if we take the water flow all the way down, and then we're still applying to the wet section of the page so the ink is more pigmented because there's very little water on the brush. But when it touches the water on the page, it still spreads pretty far. Okay, let's switch to the watercolor wash soft again. You're gonna want full black ink. It doesn't have to be a super large brush because these air larger headed brushes anyway. And let's start with the high water flow again. Now you'll notice that it stopped running right here, and that's because my water line was dried beyond that. That's where that square a selection tool had stopped. You can always go back in and run your pen over additional layers and see how the color continues to blend and migrate together. Okay, now let's take the water flow down, so that is going to act the same way that the 1st 1 did. But because the watercolor brush is a soft brush already, it doesn't have as much pigment because it's not as the brushes and designed to have quite as much on it like the detail brush does. Let's move to the watercolor wash flat again. We don't need a very large brush. We do want Full Inc. And we'll start with a high water flow. Now let's turn the water flow all the way off. Okay, now let's move on to the last one, which is the watercolor, wet spatter, high water flow and let's turn the water flow all the way down. Let's go up and work in the dry section this time, and we're gonna do the same thing. We're going to start with a high water flow, but this time the pages actually dry itself. Let's zoom in so you can see that. So with the detail brush and a dry page, it really acts almost like a marker. But what if we come in and we run our brush near the edge of the current water line? Now you'll start to see it blend out a little bit. But if you're just using your brush, it doesn't actually blend out a ton because there's no water on the page. And now let's go to a dry water flow. We couldn't even increase our brush site so you can see that. So even though I'm coming close to it, it's definitely not spreading out or blending in anyway. So that's a very, very dry detail. Brush on a dry page. The watercolor wash soft with full water so it spreads out a little bit more. But it definitely isn't blending until you come in with additional line strokes, and then it will blend inside of the lines that are currently there. So if you're looking to create any sort of area where you have a border, you can definitely continue to drop color inside of that border cause it's not going to spread out unless you come in and add to it. And let's see what happens when there's no water flow. So you're getting a very soft, shady type tool here, but as you'll notice without the water flow, you're getting no blending. Okay, the watercolor wash flat full water again. It's a little bit darker than the soft. It doesn't blend unless you add additional strokes nearby and allow those strokes to touch each other. Let's try the watercolor wash flat with no water. Now same thing. There's more pigment on the brush, but it's definitely not blending together and moving on to the watercolor wet spatter with full water on dry paper. You're going to get more of a spatter and they won't blend unless you touch them. Let's turn off all the water flow. So now let's really bonds down. We'll get started by drawing our floral inky illustration. I'll see you in the next lesson. 3. Lesson 2 - Inky Floral Illustration (Part 1): for this floral inky illustration. We're going to be starting with the square, Candace, and I'm going to import an image of a line are drawing that I had done. I'll also have this up for you to be able to download. You can use all three, or or like me. You can just use one. So I'm going to do is I'm gonna zoom into the flower that I want and I'm gonna lower the opacity. I need to create a line or illustration with adobe fresco because the image won't actually bleed out. And later on, I might actually want to use the Leinart to bleed the pixel brushes. I use Kyle's dry media sketch pencil rough with black ink than about 25 and I'm just going to trace the image that I imported because I'll use this later on in the illustration. Okay, I'm going to finish tracing this flower, and I'll speed up the video and see you back when I'm finished. Now that we have a clean ink drawing, I'm going to turn off my image here, and I'm gonna lower the opacity of this ink drawing. Add a layer underneath. And so I'm going to use a slightly different technique from each of the petals to show you that there's different ways that you can do your illustrations. You don't have to do each of your pedals in a different way. If you don't want to, you can pick one that works best for you or try each of them. And so what we're going to be doing is actually using the selection tool. But I like the brush selection tool, and the reason is the brush selection to allows me to kind of paint in the areas that I want to use a selection versus using the typical selection tool. You have to have a beginning and an end so that the plane area close is not that you can't highlight multiple areas at a time. But it does have to have a beginning and an end, and I just like the way that it feels with the brush selection to a little bit better. So that's the one that will be using okay, so the first way to use a selection tool is to select the entire pedal now, even though this is going to be an inky illustration in other words. Everything's going to be smeared out and and bled. You know it's gonna really be mixed around and splattered. But in order to get that effect, I actually like to start with a really clean edged petals, and the reason is that illustration. I will duplicate duplicate later on, and I use it in a couple different ways. So the first technique here on this pedal is to select the entire pedal so that we have a very clean border. Now, with traditional watercolor, you can use wet on wet technique, sweat on dry techniques, and the wet on wet, typically in fresco, is thought of with two colors. So here's an example. If we put the yellow inside the pedal and then let's say we pick a blue when the blue and the yellow meat they make a green. This is the beautiful part of frescoes. Life brushes is. They mix right before your eyes. You're actually watching these colors. Mex so blue and yellow is making this green. This first pedal, I'm using the wet on dry technique. I'm taking my apple pencil or my brush, and I'm creating strokes that start from the base of the pedal and I work toward the outer edge. But as you'll notice that it doesn't bleed unless I come back over that area and at another stroke because it's the paper is dry. It's not going to bleed until it has something to bleed into, just like a regular watercolor. We're in a creative selection around the entire pedal, just like we did before, and I'm gonna show you something, but I don't give myself a little bit of room. I don't want to touch that pedal just yet because there's a There's a reason I'll explain that in a minute. So highlighting the entire pedal just like we do with the 1st 1 But this time I want to work wet on wet. So the way that I do that is using my watercolor wash flat brush. I'm gonna turn down my color all the way to zero. You can do that with a slider bar are over here to the right of your color wheel is zero saturation button, and I'm going to brush on Clearwater. Inside this selection, you can't see that because the water is obviously clear. Then I'm going to switch back to a full Inc and by tapping at the end and sliding toward the edge of the pedal. Because there's water already on there, it's allowing that color to spread out much further. Now, if I want to be able to bleed out that color a little bit more without adding more saturation or more dark pigment, I can go back to my Clearwater and just kind of tap in and drop in extra water, and it will fade out on that pedal, okay? And then de select, let's move on to the next one. The next way to do a pedal, I'm gonna actually pick the one in the middle so that you can see this technique. I'm going to take my brush selection tool, and I'm actually only going to select the areas that I want to be the darkest in other words, those areas that are going to be shadowed. Okay, using my wet brush, I'm gonna drop it down to about 200 or so. I'm gonna brush on the Clearwater. I don't want to have a ton of water on my paper to begin with, so I keep my water flow fairly low. 30 forties. That's about it. and then switching back to fulling a little bit more water. Now I'm gonna brush in that dark pigmented Inc again. It doesn't have to be 100% dark in every area. You can allow it to bleed and mix, just like we did in the other ones. Okay, then with your brush selection tool. Now, with the brush selection tool, I want you toe continue to fill in the rest of this pedal. And then what we're gonna do is we're gonna drop in just water, and by dropping in, just the water is gonna allow the pigment that's already inside the selection area or inside this pedal, and it's going to allow it to mix. So just water. You have a fairly large brush if you want. We want quite a bit of water. Just come in and starts tapping in the water and lead and mix with all of the ink that's already on there. No, you can leave some areas as highlights, or you can continue stamping until it's all mixed in. I'm gonna leave a few areas for highlights, cause this is one of the techniques for highlights. The other thing that you can do is using the watercolor round detail brush in full color. You can zoom into your pedal and drop in very high pigment in certain areas, just as if you were using traditional watercolor or ink and wanted some areas to be brighter. Okay and then de select taking her brush selection tool again. I'm going to select the entire pedal here, Okay, now, if you notice my selection is touching two of the pedals next to it, there's some black ink that's in there now. What's gonna happen is it takes that black ink with inside that selection, and it's actually going to spread it into the pedal that I'm currently working on. It doesn't affect the pedals that it's pulling from, so the pedals next to it are going to stay the same. But because there's ink inside that selection area, it's going to grab it. So using your watercolor wash flat brush again and zero pigment with lots of water. If you come on and you touch that ink, it just starts to spread. So from their election than come to the circular edge of this pedal. And I just drop in Aton of water and I just keep smearing. It's marrying more water and it's meeting up with the rest of that ink that's coming from the bays, Okay? And then I can also go back in with more ink. If I find that there's areas that need a little bit darker pigment and then de select using this brush selection tool, let's move on to the next puddle. This pedal. I'm actually going to highlight the edges and the dark areas that I don't want the shadows . Okay, using the water because there's a little bit of in coming off that selection on the side is gonna grab some of the ink, but I'm still gonna wet my entire area. And then I'll switch back to Full Inc. And I'll drop in some dark pigment in certain areas so that I have color all over this particular selection. Okay, so I'm going to think of this as highlights. So I'm going to continue with my sprechen election tool, and I'm gonna create areas that I know we're gonna have darker color. Maybe not the darkest color we just put in. But I'm also going to make areas that I know there's going to be highlights and I'm gonna leave those un selected. Okay? Going in with clean water. I'm just gonna start stamping in the the clean water and let it mix with the darker color that's already there. Okay, so now when I d select, there's a lot of white space area left, and that's gonna begin to be my highlights. So using your brush full of water, I like to keep my breasts fairly low. And I come in and just kind of tappin water next to the edges just so that it's not so blunt. And I continue to shape where I think the highlights should be. So I'm just softening the edges, kind of redefining, just to make sure that it's all where I think the highlights need to go. Okay, so on this last pedal, I'm just gonna select the whole thing and using my large watercolor brush, I'm gonna blend up that color that's already there. No, my brush isn't really not that big enough there. And I'm just gonna spread that that I think all around. And then I'm gonna drop in just a little bit more dark ink in some areas, then let that blend out. Now again with that one. I just kind of as I was putting the color in. I just was careful toe to leave a few spots that just a dry so that the highly would show through and then de select. So now what I do is I come in with clean water and a smaller brush, about 50% water, and I look at the edges where they meet. If you see here, this marriage has kind of a defined line, and that's because we were doing each pedal individually. So I just come in and soften those harsh lines by adding just a little bit of water so that the edges of the pedals bleed into each other. Not a lot. Not a lot of pressure, because it will kind of smear out even more now. Here I kept there's a distance, and I can close this gap by just gently running my brush in between and letting those two colors bleed together. Okay, the center of the flower. I like to use the water round detail brush full of ink in just a little bit of water flow. So with this brush, acts kind of like a pen a little bit. I can come in and draw in the center portion of this flower, and then I can kind of spread out from my centerpiece so that it bleeds into my pedals, adding a layer and moving underneath the pedals. I like to create the stem and the leaves. And I do that the same way that I do the pedals. Whichever technique you liked, you can do that. I like to create some lines and some highlight areas, so I don't fill in the entire thing. I do come in with the clean water in the beginning. Make sure I have my big brush. Doesn't have to be a size wise big, but I don't want to use the detail. Brush away like the the wash flat brush for this. So I brush out the water and then with think, I come in and I drop in the color just like we did with the pedals. Okay? And then, if you de select, there's a lot of clear in the center still using the water brush in the water. I turned my brush down and I come in and I gently soften the edges. I still want to keep some white in the center so that I've got some highlights going on. But I like to keep the this mere going. So I keep I like to blend it, and then I can come back in in any areas and drop in darker pigment if I feel I need a darker shadow there when filling in the stems and the leaves. I go with a really thin line, and now you can trace the edge of the lease. Or you could select the entire center of the leave and let the Inkley together that way. So I'll feel this one in all the way, and then I'll show you what it's like. We just the edges on the other ones. Okay, starting with the Clearwater again doesn't have be big brush because we're using. We're working on such a small area coming with Full Inc. We'll zoom way and so you can see this tell. The color starts to spread out in just those areas, and you can stamp in or tap in some darker ink and let it all flow together. And now, working on this one, the entire centers filled in. I would stamp it in or, you know, brush it in from the base and work its way up just like I did with that first petal. Now, because these leaves are empty in the center. If I turn my ink off into going with clean water, I can drop in just the water and let the center merge and bleed and blend together, leaving highlight areas more naturally inauthentic, based on how it all bleeds together. Now that we've completed our first layer, let's move on to part two of this video, which is going Teoh. Explain how to bleed out these layers, add squatters and then use Bloody Moz to finalize the illustration. I'll see in the next lesson. 4. Lesson 2 - Inky Floral Illustration (Part 2): Okay, so now you have your first layer of ink. Done. We have are lying drawing, and we have a layer of ink for the stems and the pedals. So what we need to do now is create a couple duplicates layers of the pedals in the stem, and you can do that by selecting your thumbnail. You know that's selected with the blue box around it. Tap on it again to get your layer actions menu and hit duplicate layer and then turn off the previous one tap duplicate layer, turn it off, tap duplicate layer and turn it off. I like to make about three so that I can use them if I make a mistake or I don't like the way it bleeds out. I can always go back and do a different technique, so it saves me from having to do a ton of undoing. So let's duplicate this layer as well. Duplicate. Turn off. Now I'm going to drag the stem and the leaves up together. The's bottom ones will leave turned off for now. So for the first smear bleed layer, we're gonna actually merge these two together, so tap on it for your layer actions and merge down, and now that layer is one. So to bleed out this particular ink layer because it's still wet, we didn't dry this layer. If we were to dry this layer, it wouldn't be possible to do this. But because this layer is still considered wet, unlike in traditional watercolor when you're working digitally, the layer is going to stay wet as long as you don't dry it, so you can always come back in many times later on and continue to bleed this out. So with a large brush, no ink, so you want the zero color and quite a bit of water place. It was two different ways to do this. You want a fairly large brush and has come near the scene that's already on the page, and if you just get near it and start touching it, it's going to bleed out that color. Okay, the other way. You can do it if you want to control how far out the color bleeds is actually with your brush selection tool. As long as you have an area that's been touched by the black, you can spread out this eat by selecting kind of outside the pedals as far out as you think you want it to go, okay? And then using your water brush again. This time when you touch that ink and it spreads out, it's only going to spread out as far as your selection parameter or border will allow. But this does give you a little bit of control from keeping it to be too spread out. And then, if you d select, you can always come back in and rub it again. Your water brush against the edges until it bleeds out a little bit. And even with a smaller brush, you could zoom in and kind of spread out that color as well, so that the edges air a little bit less perfect. Okay, and then with the stem and the leaves, I like to run it across the edge and just let it kind of create more of a depth shadow versus kind of a blob. So I just kind of run the brush against those edges. Okay, so that's the first layer. Next thing we're going to dio is let's turn this layer off and let's bring a stem and leaf layer underneath this pedal and we'll turn these layers back on, merge them down together. So there won again, and this time, using the water wet spatter brush with no color and a fairly large brush with tons of water , we're going to come in, Let me show you with color. I'm gonna come in and I'm gonna touch and grab and say I'm kind of zigzagging around and that's going to give my splatters or my bleed a little bit of texture And I want the sexual for later on When I merged these together so turning the ink off again, I'm gonna do that around the edge of this inked layer. And this time, when it bleeds out, you'll notice how much is bleeding out in a textured foreign versus the previous layer that we did. That kind of came out more spread out in watery looking. This is giving us a lot of texture. And if you just keep touching it in areas, it's going to continue to plead okay and do that down here is well, now, turning the in clear or turning the back on, we can continue to add darker splatters around. That is well, if you turn your water layer or your water flow down, you're going to get a more pigmented color and it won't spread quite as much. So you can do that as well. Okay, so we have the first layer, the second layer that's more splattered. The other thing that I like to do is I like to go in with some darker pigment into some of my areas and let the areas that I feel like need to be a little bit darker, kind of bleed out that way. It doesn't always have to just stay your lighter tones. You can definitely add in deeper color if you feel like it's needing it, and you can do the same thing with this one. You can go in with much less water and drop in color as well, and it will bleed out because that water is still very wet on the page. Okay, going back to our splatter layer. The other thing I want to dio is added layer on top, switching to our pixel brush. Kyle Webster's designed some wonderful brushes for adobe, and one of them is, um, the Kyle's inbox batter. One. You can get these if you go toe all hit the plus sign and get more brushes from adobes website. You can use all of the Photoshopped brushes with the dhobi fresco. So the Kyle in pot ink box batter one fairly large and black ink. I like to drop in some very defined black splatters And this way, these don't actually bleed out. I don't You can if you add the water brush on top of this layer, but we're not going to, but I like to add some some black splatters that's gonna stay really defined. And the other thing is then switched to the white. I drop in some white splatters of ink and it really adds a lot of, um, texture and dimension to the illustration. Okay, so now we have spatters. We have this batter in clear, We have the blood in clear and we do have some extras down here. So now I would like to do is I start to assemble the illustration, and the way that I do that is I start layering things, changing blending modes and seeing how everything kind of works together. So I'm gonna make a duplicate of the spatter layer just in case and Now let's work with this illustration or this layer. Okay, so let's turn on our first layer of mere Doubt, Inc and start adjusting the blending modes. And when you move the blending modes around, you'll see that it changes based on the layer that saying underneath it And right now we have our split, our spatter in clear. So playing with those we can get a feel for different looks that we may or may not like. I like the light, and that's pretty need. Now. If you wanted to stick with something dark like overlay, you could always adjust the opacity. I actually think I really like this color burn. Is this giving me some of those dark here on the right? But it's eliminating some of it on the left, so it's kind of interesting. So I'm gonna just the opacity here. You don't need it super braid, because I just want a little bit of hint of color underneath there. I don't want it to look like too many layers, and on top of each other, I really want to use it to kind of create depth. All right, now I like to take my line or illustration, and I changed the blending mode to divide. And what it does is it actually changes it toe white. If you have your a pass ity up all the way, I don't want quite that breaks on the lower the opacity just so that there was a hint of the outline underneath this inky illustration. Okay, then I'm actually gonna try turning on one of my additional layers, and I actually really like that. It's kind of coming in with this darker feel of the flower, but I don't know that I wanted that dark, so I'm actually gonna light in it just a little bit. Just so that adds a lot of just let add some color to the center of the flower from a change this layer to multiply, and then the lower the opacity about 50. This is just gonna give my flower a little bit more dimension. Um, even though that the splatters air all around it, it's gonna not gonna hide the flower as much. It's just real subtle. You could be done here if you want, but I want to look at the liner illustration that we originally traced and using that I can actually bleed out that that's why we created the trace in the beginning. So with your water brush and a fairly small brush and no color, lots of water if you come in and actually just kind of come near the edges of that Leinart illustration, you can blend out those lines so they don't have to be so defined. And you can just kind of soften those edges a little bit and kind of ad in a slightly different texture to the edge of your flowers so that it looks a little bit more watery. Or you could stay with this. You know the perfect edges to. That's fine. The other thing is, you can also kind of come near it and just kind of really rough up those edges. There's a couple different ways to work with this Leinart illustration. The other thing that I would like to share is how to add in additional highlights. We did that by building in some highlights with the way that we had used our selection tool and are blending early on. But if you want to add additional highlights, the way that you'll do that is you want to add an additional layer, and there's a couple ways to do that. You can. Using a pixel brush, pick any texture brush you like with white paint. You can actually come in and paint in on top of your illustration. Additional highlights and whatever texture brush you pick is a texture that you're gonna get. - Okay , the other way that you can do it is actually go into the layer at the very bottom, which is gonna be your splatter earlier and using your brush with full color on this little circle down at the bottom. If you hold an unprecedented enlarges and that's telling you that it's engaged, and as long as you're holding that down, your brush becomes an eraser so you can have a texture of eraser. If you use the regular eraser, it's going to be a very specific brush. This is the only eraser that it will look like, but if you use the pixel brush on that layer as an eraser, you're going to get the texture of the brush. But see how I'm erasing in the light and again you can use any brush that you want as long as you're holding that little tab down, you're going to be able to he raise out any highlighted areas that you would want. You could even do that with this batter brush you can erase in. Okay, Now that you're done with your illustration, you can always save it by going up to export and do a quick save for you can go up to publishing exports and export any file type that you like. Or you can even watch your time, Lex video, which is obviously super fine. Okay, I'll see you in the next lesson where we created a stinky jellyfish. 5. Lesson 3 - Inky Jellyfish Illustration: for this lesson will be creating an inky jellyfish. So we're going to start with a square canvas, and again, I have a line or illustration. You can download this Leinart sketch in the project in resource is section of the class. Okay. And then I'm gonna lower the opacity. So we're gonna add a new layer and using a pixel brush, And I'm gonna use Kyle's dry media sketch pencil rough, and I'm gonna trace out the jellyfish. I'll speed through this video, and when I'm done, I'll come back and we'll move on to the next step. I let him done tracing the illustration. Aiken, turn off the image layer beneath as you'll notice. I didn't stick 100% to the original drawing, and that's OK. I just wanted my lines to feel really authentic, so I let them flow just kind of as they wanted. Teoh. Okay, so now with the Leinart illustration layer, I'm gonna lower the opacity, and then I'm going to add a layer and make sure that it's underneath my line art layer. So, using the brush selection tool, I'm going to select the entire center of this jellyfish, and then we'll come back in and we link in the color later. But I'm gonna speed of the video cause this section areas kind of large, and then I'll come back when I'm all finished. - Now that I have the entire center portion of this jellyfish selected, I'm going to come to my watercolor live brushes and I'm going to select the watercolor wash flat. I'm gonna start with no color. I want only water, and I'm gonna keep the flow very low because I don't want the water to really saturate the page. I want the page not to be super super wet, so I'm gonna paint on this water and spread it all over my page and then using the same watercolor brush, I'm going to switch back to full color and increase the water flow just a little bit. And now I'm going to start to drop in this color the same way we did with the floor of illustration, and I'm gonna kind of drop it in all different areas and let it just start to bleed out together. Okay? Switching back to all the water. I'm gonna lower my brush. Maybe you know, 100 or 90 or 100 or so, and I'm gonna come in and just start to tap in water in some of these areas to blend in this color. And if there is an area that's too dark, all I have to do is kind of dragged that dark color toward the lighter areas, and it will continue to blend out that color. Okay. And then I can also go back in with some darker color, more black, a little bit more pigmented, and I can paint in into certain areas that I want that color to be a little bit darker. - Okay , so that's good for now and then if you d select, let's duplicate this layer and then turn it off. I just want to have a couple extra duplicates. I don't know that I'm gonna need them, but we'll just turn them on just in case. So now let's add a layer on top of this, and we're gonna work on the head of the jelly foes using the brush selection tool. We're going to use the technique where we Onley highlight the area of the jellyfish that we want to apply the darkest part of the color so we'll leave the rest blank. For now, we're only gonna apply color where we're going to see the darkest areas. Way to the watercolor brush. We're gonna apply just a layer of water again, increase our brush supplies, make sure the water flow is good, and then paint that water all over that selected area. Okay? And then you're going to switch on your black so you have full Pigmented Inc. And you're gonna drop in that color the same way we did before. Okay? So using the brush selection tool now, what you're going to do is you're gonna close in some of those gaps, but leave some areas blank or white for highlights. Coming in with your large water brush again. Make sure you have your ink turned all the way off. We're gonna increase the water flow just a little bit, and we're gonna stamp in the water and let it pick up all of that pigment from earlier that first round of ink and let it start filling in our color. Okay. Now select your de select button down on your tour, staying with your water brush and you're clear water. I wanted to lower the brush size and lower the water flow. And we're gonna come back in here, and we're going to soften these edges and allow these edges to bleed out a little bit. But still be mindful of where we want some highlights. But we're just going to bleed out and blend out that color, allowing it to be a little less perfect looking and let the highlights kind of show through in between those. I'm just being really gentle with my pressure down here where my head of the joy fees fishes, layering over the center what that we had done originally, I'm just bleeding that out underneath so that you can see that it doesn't have this weird overlap. I just wanted to kind of blend in a little bit. Okay, Now I'm just dropping in some water just to kind of create a little bit more blending a little bit more texture technique, kind of looking. So I'm just dropping a little bit of water to let the color continue to blend, and then I'm gonna come back in with full pigmented Inc Smaller brush, a good amount of water, and I'm just gonna let the pigment kind of flow in just in some certain areas just to darken up, add a little bit more depth and texture to it. So when I press really hard, if I grab that, I think that just dropped dropped onto the screen. If I grab it with my brush in, I can actually kind of manipulate where it goes and wiggle it around and move it around. Let's go back to our Leinart layer and turn that opacity up. And the reason that we're doing this is we're actually going to use that liner and bleed out some of those tentacles. So first, what I want to do is I want to duplicate that layer. I always want to keep a clean copy. I don't think that I want super break, so I'm gonna lower the passing a little bit for now. And using my water brush, I'm actually gonna switch to the watercolor round detail with no color about 40 or so percent of water. And now when you get and close, you can see that when I touch it with the water, increase the brush size just a little bit. Since it's such a fine tipped brush, I can actually bleed out the original line. Ertz sketch. It's increases a little bit, and so I can add any depths to the tentacle. So just working my way around the tentacles, I can actually smear out this ink. - So I'm just smearing out and softening each of these tentacles. It doesn't have to be perfect. We're just trying to kind of soften out and blend out and smear out that ink. - Okay , so now moving up to the head of the jellyfish, we can do the same thing, just kind of smear out those edges. I'm actually going to switch to a larger brush to the watercolor wash flat so that I have a little bit more area to cover, and I'm just gonna smear out those edges is let's make a duplicate of this jellyfish head and we can turn off the other layer for now and then using our watercolor brush with a fairly large brush and a lot of water, we can actually blend out and smear out that color from the head, because again, we're gonna want to give ourselves a couple layers to be able to work with here. Okay, that's one. Now let's take the clean jellyfish head and let's duplicated again. Turn off the extra. Using our watercolor wet spatter brush with a fairly large brush. Tons of water. We're gonna create very textured ahead again. Kind of like we did with the flower. Okay? And then I want to go back in with black pigment. I might be too much. Uh, let's say if we keep that nice and braid that way, how that works. And this is I'm just stamping pretty firmly against my page. We can actually even take that a little bit down against the center so that there's some texture coming in there. Okay, so now we've got a spat. Earlier, we got our bleed layer, and we got a clean head, and then we've got our center. Have the jelly first. Okay. One other thing that we should do before we start assembling all of this is add a new layer , go up to your pixel brushes, select your favorite spatter brush, which I'm going to use this batter one again, using a very large brush and the blacking. I'm gonna drop in. Some really defines black spatters. Then using the same brush, I'm gonna go in with white and I'm gonna drop in some spatters. Also, Okay, now that we have all of the pieces, we're going to start playing with the different positions of the layer is in the different blending modes and get this illustration working the way we want. So we have our center turned on. We have our spatter layer. The head, which is also, um are bleed layer using the layer properties, blending modes, I'm going to click through all the different planning most to see which look I actually really like. I can also adjust which order the layers air in, and that can help kind of affect how the blending modes relate to each other. I go to my extra liner layer and I turned that layer on, but I'm gonna change this layers blending mode to divide, and it actually is gonna make my outline white. So if you zoom into that, that's still kept its texture because we didn't actually change that. Leinart. We didn't bleed any of those edges out. Okay, so we have one Leinart layer at divide and the second line earlier at normal. And that second line earlier is the one that we bled out the edges so that white line are layer that's onto the divide blend mode is gonna give it some of the accent color, and it's gonna change drastically. How lit up in bright diet is and it really changes it for me, cause if you look at it, it looks very dark, especially around the head of the jellyfish, where there's so much dark by adding that that layer of the liner with the divide blending motors, it really kind of makes everything pop out. So now I'm looking at scene If there's, um, any use of using some of these other centerpieces that I have here and it changes it a little bit, and I actually kind of like the way that it pops in those colors. Some believe that layer on. I don't think this layer is going to be useful to me, So I'm gonna take that down here. The only other thing that I feel is that this area over here, but this area over here is a little dark. So what I'm gonna dio is I'm gonna add a layer on top and I'm gonna go back to my spatter and I'm gonna go back toe white and I'm groups. What is my spatter brush my spatter brush. And with the weight, let's make it a little bit bigger. I'm gonna drop in a little bit of color over some of this black just because it's, um It ended up being a little bit too dark for me, and I didn't like that. Okay? And there is illustrating an inky jellyfish You can export and save your image, and then if you hit the home screen, your state, your document will save. 6. Class Project: for your class project, you're going to be creating an inky illustration using the brush and layering techniques that were taught in this class. When you finish your illustration, I hope that you'll come to the project in Resource Is Section and share your project with the class. Just click on, create Project and then input all of the information and your images and hit publish.