Transcripts
1. Intro to Loose and Bold textural Watercolor: Hi guys and welcome. My name is the loris
nascar and I'm coming to you from sunny,
Manitoba, Canada. I wanted to bring you a
project just filled with joy. I find that this kind of loose
technique in watercolor, It's so fun to do. And so forgiving. We're going to be
producing a really bold floral and it's gonna be
really loose and rough. The kind of style
that you almost can't go wrong with. Trust me. I've included a ton of
assets here for you. I hope that you'll find
that fun to use as well. Now if you haven't
done so already, make sure you hit that
follow button up there. That's the best way to stay
informed about my classes. As I publish them. I would also suggest that you check out my
website at the Laura start dot ca and add yourself
to my mailing list there. I've been working on a
new School of Art and I'm going to have a bunch
of stuff coming up soon. And I want you to
be on that list so you get all of
the information. And it's also the place
where I sell and chip away a lot of artists resources that I've been
working on as well. So I would really love to see your name pop up on that list. I'm hoping you'll enjoy
using these brushes. This is a new set that
I've recently developed. I'm gonna be explaining
to you how to use each of these
brushes individually. They're part of a
bigger set that I sell, actually two or three sets. So you'll have to check out
those artists resources to really see the full sets and
see what they're all about. Remember that there are a lot of freebies there
that you can grab, including some beautiful
glitter brushes. Are you ready to get
into the project now? Let's get into it.
2. Lesson 1 Overview and Document Set Up: Hi guys, welcome to lesson one. This lesson I'm going to be
showing you some examples and we're gonna get started with setting up that document. Let's get to it. For this class today. We're gonna be producing
something this casual. It is the roughest
watercolor you've ever seen, but I think it's
just super cute. And I've seen many more style's similar to this that I like and I was
kinda practicing, I was just fooling around here. I mean, it is really rough. I'm sure we're gonna
do a better job today. Here's another
example, and these are just my super first
practice ones. These are not at all polished. I can tell you that right now, but I want to show you how to
achieve that sort of look. So it's gonna be some
very rough painting. And it's really just going
to use one or two brushes. I have started a
new document here. In this document I have
my watercolor paper, that paper I'm supplying
to you and it was simple. Let me just actually delete this one and I'm gonna show you, I just went to Add, Insert a file and
you would go to wherever it is that you've
saved that paper texture. If I've got mine saved
in watercolor papers and textures folder that I
have on my iCloud Drive. But wherever it is
you want to keep it. That's up to you. I imported the paper
and it comes in. I've actually got it. It's going to always
remain as my top layer. And I'm going to set that at Linear Burn and that allows
everything to show through. But you're gonna see as we start working our way
through here that the texture is then really nicely applied to
everything underneath. So everything looks like it's been painted on
watercolor paper. I know some people
put it at the bottom and just like a
traditional painting, the paint on the paper. But then they have
to do blending modes for each of their layers. And I just find it easier
acute that one at the top. The next thing I did was
a really quick sketch. I just used a six B pencil
from the sketching set. And I'm just roughly doing this just to
demonstrate it to you. But these are not really even representing the
shapes of the flowers. But what's important here is to get an overall composition. And I think for this one today, we're gonna stick with
something like this where when you
really look at it, you've got kind of almost like a crescent shape or the
overall composition. So I've worked it out so that
I've got and taller flowers and medium ones and smaller
ones as far as height goes. And then the same thing with the sizing of the
different flowers. I've got some that are bigger. These are getting a
little bit smaller. And then as you saw
in our other sample, we had a whole bunch
that were just basically sort of dots
placed in-between. And we can do that at the end. This is something we
don't even have to really plan in there. We'll just be able to use
watercolor in the background here to do our sort of
filling out of the design. The other possibility is to add more leaves and
shapes like this. We'll cross that bridge
when we get to it. I really don't
know at this point exactly how my art
piece is going to be. And I think with
most watercolor, especially for me
and in procreate, I just kinda go for it. And once I've got the basic structure kind
of planned in my mind that I know that overall whatever I do will fall within
that structure. But as far as the painting
of the individual flowers, I kind of just go for it. One of the things I do
suggest is that you take the time to just do
a little bit of practice. So the brush set that I'm giving you has very few brushes in it. The top four here are your
basic painting brushes. I've got a really big
scraggly fail brush, so that's gonna be more
for the background. This one is kind of
a specialty brush. We're going to talk about
that some point in the class. And then I've got a couple
of different backgrounds. Now, is2 background or could have been the
background as well. So we could turn
that background off, add a new layer here, and you can experiment here. And I'm going to show
you the use of these. I've used them in
another class or two. And these basically give kind
of an overall background. That's something that
you can put over top and add a blending mode. Or you can use it to
just sort of paint little bits around your
flowers once you're done. The other one that I have here, I'm just going to clear this
layer is a paper texture. I call it the big texture. Grab yourself a neutral color. Let's go with
something like this. Make sure we're on
that same layer. And you can see here
it's gigantic for one thing and the texture
is nice and large. It also has some
light and dark areas, which is a little
bit different than that original paper texture that we brought
in this one here. But this one also
works quite nicely. So this is something again
you can experiment with. You can mess around
with the opacity. Once we have the
other flowers there, it's going to make a difference. You're gonna really feel to
see how these could be used. Maybe I'll just leave that
one in there for now. I'll group these two and
rename this to be background. Just so that room, remember, and I'm gonna keep this one off. I'll just put this
one back on again. I can close that folder and
turn my sketch back on. And basically I'm ready
to start painting. So just to make
sure that I don't actually paint on my sketch
layer, I'm gonna lock it. And same thing
with the textures. I don't think we'd make that mistake because
it's in a folder, but you can never
be too careful. Now we are actually
ready to start painting and we're gonna talk about
the different brushes. And we're gonna start laying
in some of our motifs in the next lesson in order
to make it faster for you to, I've also included
a color palette, the palette that I'm
going to be giving you. When you get the palette, you will import it. You just go to your
palettes here, Add, and then you're gonna
go knew from file, and you'll have that
also in your file. If it was here, I would
be able to import it. I didn't export it
as appellate yet. But what I can do
is I can import the artwork and it creates
a palette for me here. So I'm going to delete this one so that I
don't have a duplicate, but that's what you're going
to have is that palette. So in the next lesson, we'll start working on
the painting. All right. I will see you there.
3. Lesson 2 Rough Sketch and Painting Pointers: Hi guys, welcome to lesson two. Unless it's really
here, we're going to be reviewing all of the resources that I've
included in the package. I wanted to show you how to
use each of the brushes. For this lesson. I want to start painting
in some of the flowers. I have imported my reference here so that I have it
nice and handy for myself. I like doing this. If I've got a look that I'm really
trying to emulate. And while this is
very, very rough, I want the overall look
to remain very similar. I'm trying to have like
really loose flowers. They're really flawed in a way, but there's still, I don't know, there's
something about them. They have a lot of
character and I'm thinking that I want to try to
keep that character. And I think that
having the reminder there is going to force me to not be too detailed with
my floral paintings. That's kind of over
here in the corner. And I'm thinking that the
other thing that would be really handy would be to
have my palette over there. So I'm gonna grab the
top of the palate, the top of the color interface
here and drag it over. I can still get to the
disk if I want to. Kind of going back and
forth between those two, I'm gonna try to stick
with that palette is this palette here. So overall, I think that I can keep The look very similar. Now, I kind of wavered between starting with stems
or starting with flowers. I think we can draw
it in a few of the stems just to anchor us. So I'm going to just have
this layer be the stems. I'm going to select one
of the darker greens, maybe this one here,
not the darkest, but it's still quite dark. And I'm gonna go with the deep texture
watercolor brush for this. This one has great
pressure sensitivity. So you can see that
as I'm drawing, I can vary the weight or the pressure that
I put on the brush. And that gives me quite
a bit of variation. If I keep the pressure
pretty steady, then I'm getting a
pretty nice smooth line. You can go in here and set the stabilization
a little bit higher. And I think I'm gonna go
maybe a little bit lighter. I'm taking that kind
of mossy green there because I think that
is still plenty dark. And I think that the
overlay that I have here, the paper texture,
dark considered a bit. So I'm gonna kinda go
a little bit lighter. I want to keep the
look pretty casual, so I'm going to be fairly
loose with my painting. And quick, I'm trying not to
go really slow and detailed. I'm also trying to keep
my pressure quite even that the stems kind of end up pretty consistent thickness. We can definitely change these out because we're
going to keep them on their own layer so that we can make changes to
them if necessary. But I think that's
going to help us visualize the whole bunch of
flowers a little bit better. I'll leave that one for now. Now I'm gonna make a new
layer for my flowers. Let's start with the deep
kind of orangey color. Now, I've given you a variety of different brushes here
because I want you to think about how you want the
text of the flower to look. So this one is drawn
with the beat texture. This is the kind of
color variable one. This one has a little
bit of variation with the color and also is a
little bit less opaque. And then there's this one. This one has kinda pooled edges. So you get that dark edge there. Now the reason I was filling in the whole flower was
because if I lift my brush, Let's see how you have a
bit here and then I lift my brush and I go
back to do more. I don't have a blend there. One of the things
I'll do is show you how to do blending
and fix that up. If you want to, you
may just find that is an effect that you might
want to incorporate into your look of your flower. I think I'm gonna pick
this one, but, you know, check them all out so
that you have an idea of what each of them does
and how they each look, I think in the last class, but I did on watercolor. I also suggested that you just take time to practice
with each of the brushes and that's
something that you could do before you even
start any of this. It could be your warm-up. So I think I liked this one best because it's got that real
watercolor look to it. It's a dual brush, so I've got two brushes combined
to create the look here. And I won't go into the
brush making itself, but it is pretty complex process to develop a brush like this. Then the other thing you want to decide is whether or
not you want to have your petals painted separately so that you can fill easily. And it also does
give quite a bit of variety to it when
you do it that way. I had done both methods
here like this blue one here is done with
separate petals or there's this one that is
done with the technique of not picking up your stylus
at all when you're painting. Now if your sketches
that you've done here are not adequate, you could go with a lot more detail and back
on that sketch layer, which we will have to unlock, you could actually draw in, Let's go with graphite color. You could go in and rough
in the flower shape. And sometimes that's really
helpful because as you're painting then you
don't have to be really thinking
about it too much. It can be difficult
to get the amount of petals in there
when you're painting. You might want to go
through and do this really quick and they
can be very rough. Has remembered the whole theme
of this is to keep it as rough and gnarly as you can
know that I've started, I'm just going to go
through and do all of them. I'm basically doing a
five petaled flower, but you know, you're, you can do whatever
you want and you don't have to keep the
shape like mine. One of the shapes I
really liked to is, you know, really
squarish petals. Because that's kinda got
a bold and funky look like a modern funky look. You can use the
eraser if you'd like. And also, I mean, I could use a
regular eraser here. I have switched my eraser
to be the six B pencil so that I can erase out
any of these lines. I had it at a lower
opacity therapy. I just raised it back up again. You could go through and erase any of the lines
that you think will be, make it too confusing for you. Flowers can be so varied
and still look good. So you can have really short, you can have really
joined petals. You could have them long petals. It's completely up to you. Like I said, very it, if that's the look
that you're after, I'm going to probably keep mine fairly similar to each other, but then go back to
your painting layer, grab that color that you
want to start out with, and then go back to my palettes. I'm going to go to that
deep orange again. And I'm gonna go to the brush that I really want
to work with today. And I think it's
gonna be this one. And I am going to
paint my first flower. And that's how quick it can be. You could leave an
opening in the middle, or you could choose
to go back and do that with an eraser. So that's leaving the opening. And this one I would
have to erase. I guess a nice part about
leaving the opening is then I still get that
dark edge there. So those are the kind of decisions that you're making as you're working your
way through this. In the next lesson, we'll go through and paint
all of the flowers. And I'm going to
talk about all of the different techniques
that I use when I'm in this process of painting are a few things
that just come up. Decisions that you have to make an off the top of my head, sometimes I can't think of them, but as I'm working on them, I can give you
some better ideas. Alright, I will meet you
in that next lesson.
4. Lesson 3 Finishing Flowers and Starting Leaves: Hi guys, welcome
to lesson three. In this lesson we're going to be finishing up the flowers. And then let's start adding
some of that leaf detail. Now that I'm looking at
this, I'm finding that it's a little bit hard to work
with this at full opacity. So I'm just going to reduce that down a
little bit because I can get a better look at what my flowers are looking like. Now I'm going to switch colors. I'm gonna go to
maybe a dark yellowy or maybe this orange here. And I'll do another one. I've been using this one here, but let me just try
this one for a bit too and see how that one looks. Maybe we'll all go back to
the yellow enlarged my brush. That also is a nice brush. The only thing is
it doesn't have that same variable kind
of texture in there. So maybe I'll go
back just to be sure that I'm looking
consistent with my style. This is something that
is a decision that you make as you're going along. It really does take
some experimentation. And these brushes are brushes I've actually made
myself and yet I still have to get used to using them when I'm working
on a particular style, I would have to do probably
20 of these to really get the style
completely consistent, but it's a start. You got to start somewhere. So I'm going to just
go through and do a couple more to start
filling out or layout. And because of the
style being this loose, it does go quite quickly. So that's something too that you could probably produce
five of these really quickly to start out
with today and then decide which way you want your style and
technique to look. I find that looking
at these now, there are a lot more stiff than the ones that
I have in here. So I'm not sure if that's
the way I want to go. I might want to really loosen up and do some really fast
drawing and painting. So sometimes that is a really good exercise
when we used to do some speed drawing in
my fine art class, just so that I
could get the kids to completely loosen up. And maybe this is a
good time for you to kind of exercise or build in a little bit of discovery and speed just so that you
get that experience, do some really fast ones, and then you can
start seeing what your style is going to be
and what style you like, and then go back and you
can tighten up on them. When I say those words, tight, tighten up or loosen up, that could mean completely
different things to a lot of people. And what I'm trying
to get you to do is to just not overthink it. Experiment with different
methods to draw those flowers. And I think that will help
you to think differently. And we rewire your
brain to try not to be a perfectionist thing with these brushes is that you could go with a very large size and just do one petal at a time. You can see what this dual
brush that I'm getting that sort of haze around it, which is a built-in sort
of a flaw so that you can get that sort
of casual bleeding. Look. I think I want to do a
different color here because I, if the colors aren't
perfect in your palette, you can also still go in
and change them slightly. It still looks like
the same palette, but we've just got a
slight variation there. And I didn't want to have three in a row that are other yellow. So that's why I switched it up. Now I'm starting to get a
little bit more to look. I'm thinking that
I want and I think that I want to start doing a little bit of erasing on some of these edges to get them to look a little
bit more rough. I want to use that same brush. So I'm gonna go to
my eraser and I'm going to select the
brush that I was using. So that's this one here. And I want you to
experiment with this to get your brush
size pretty big, but reduce your opacity
quite a bit and then go in. I'm going to turn the sketch off completely at this point. Go in and do some of
this where you're erasing and getting some
variability into the color. So you're going in
and lightening. And a lot of times on the
edges of watercolors, you'll see some of these areas that are just somewhat
lightened up. And that gives that sort of a casual and rough
kind of feel to it. So I've done that on a few. Go back to your full
opacity for the eraser. If you want to erase some
of these centers out, you still might
have to go over it a couple of times if you want to get of the pigment out because you can see at
least a little bit there. And you can use the eraser
at full to also help you create kind of straight
edges on your petals here. Do you see how rough
that shape actually has become because of the
way I drew the petals, I can use this to kind
of sharpen it up. So these start to look
a lot more like these, and I can do that here
with this one as well. So now the insights of our
flowers are all very similar. I'm going to grab
that darkest green. I'm going to go in here and drag it over
to the gray side. A little bit more, a little
bit more black attitude. And let's experiment with drawing the insides of
our flowers with that. So you could choose to
have a really dark inside. You could choose to build that up a little
bit so you could go and choose one of
the lighter greens. And of course it doesn't
have to be green. It could be one of
the colors that you're using, this teal color, or maybe the darker
green might look really good for some
of the centers. And really in ten minutes, you could probably have most of your flowers
drawn in here. I'm at the point now where I want to start putting
in some leaves because I want to
put the leaves in before we put these little dots, I'm filling in the space
on the background. I want to do some practice. I want to show you what I
usually do for practice. I'm going to shut these two
layers off and add a layer. And this will just
be our practice which we can get rid of. And with each of these brushes, you should practice with
creating the leaves. Now, because of
the variability of the pressure sensitivity
on these brushes, I thought it's set
really high here in the Apple pencil so
that the pressure will vary from very thin to very thick depending on the pressure
that I put on the brush. So practice with that. And you can practice
and draw all kinds of different shapes just
with that simple technique. One of the things you
can also do is you can go from thin to thick. And when you get
to the end here, you can go back again
that you draw a leaf that has a bit of a center
vein going through it. Let's try this other brush here. No, I don't have a green again. And really you're
just starting with the lightest possible touch and ending with the lightest
possible touch. So you're putting
just a little bit of pressure on then
a lot of pressure and then just a little and apparently I can't do
that when I'm talking. Try it in both directions. Also get, get a bit of practice
in going from one side to the other so that you
get the feel for that. Remember that you can also
tilt if you needed to, for drawing your leaves. If you're more
comfortable tilting it or rotating your paper or your canvas so
that you're not painting backwards, so to speak. And really, you'll find
that you can produce some pretty realistic and
satisfying leaves this way. So in the next lesson, now that I've given you a bit of an overview here in
the next lesson, we'll do all of our leaves.
5. Lesson 4 Filling in All the Leaves: Hi guys, welcome to lesson four. Unless it for here
we're going to be finishing up that leaf detail. This is another way
for you to learn how to use the brushes properly. So I'm gonna be explaining all of the different
settings and then how to actually
create that shape. It's easier than you think. Let's turn everything back on again because it's nice
to have the flowers in position there to
work your leaves around. And I think I liked that
last brush the best. You could definitely
try all of them, but I'm going to use
that deep texture and start putting
in some leaves. And I'm going to go
with lighter green. I think this green, I like. Let me see. That's a little bit too light, but we might vary some
of the leaves as well. So I'm gonna start with
bigger leaves here. I'm using that technique
of pressing a little bit more softly at the beginning of the lines and at
the end of the lines. I'm gonna put them on a
separate layer here too, so that if anything, I can erase them off. And don't worry if you've got some that might
as you're drawing, go over another flower or something like this
in behind here, we can figure out a way
to get rid of that after. So don't feel that you're constrained and trying to
work around the flowers, just go for it and we'll get rid of any of the
ones that we want to. Afterwards. I actually have to stop talking in order to
properly leaves here. Uncle back to this later because I want to
add a stem here. And this layer for leaves
a lot in that color. I'm going to just
lighten a little bit, just so I can have a
bit of variety here. And this one is
actually quite opaque. So it's nice because I can be layering like this
and it works out. Okay. I think I've thought as much as I
need here for leaves. I do want to leave space for those additional little
dots of color there. So I've just added a couple here just to fill up
the space a little bit more because I still
want that kind of a crescent that I was talking
about at the beginning. And now I want to show you
how to get rid of anything that's interfering with flowers and showing through the flowers. So there's a couple of different methods that we could use. What I'm gonna do the fastest, easiest way, although
it is destructive, is to do a selection
on the layer with the flowers and cut it
out of the leaves layer. That's the first one
I'm going to show you. So I'm gonna select with
the automatic selection. I'm on the flowers layer and I'm doing that
automatic selection. You can experiment with
how much to pull here. I'm going to keep it fairly low so it doesn't go into
the flowers too much. I'm going to hit Invert. And then I'm gonna go
to the leaves layer, three finger swipe down and cut. That gets rid of
anything in behind there, but that's destructive. Now if I was to move a
flower or something, you can see that they're already cut out of the leaves
and there's nothing that I would be
able to do about it would definitely take
me a lot of time to repaint any of the
missing pieces or whatever would happen. And so the best place or the best way to do it would
be to add a layer mask. So I'm going to do that
on the leaves layer, it hit mask and you can see
here now I have a layer mask. What works here is the
eraser and I'm going to switch to a
more solid eraser. So I'm going to just choose
in the airbrushing category, and this is the built-in
procreate brushes. I'm going to grab a brush. Let me try this
soft brush first. And wherever I erase
on the mask is now going to remove that
part of the leaf. The beauty of doing it
as a mask is that if I did make changes to
the foreground layer, I could just clear
or delete the mask. That leaf would still
be 100% in tax. So adding a mask and
using it, erasing on it. Let me use a slightly
better brush here. Erasing on the mask is
a better way for me to get rid of anything that is bothering me
about those leaves. So something like this
because it's showing through, I would go through and erase. One, doesn't show it
through too much, but I'll erase some of it. And that one kind
of shows through. And now I don't feel like
those leaves are disrupting. The flowers that I have
in the foreground. Here, needs it and I forgot to paint a center
on that flower. So let's go back to that layer. Now we've got all of our
flowers the way we want them. I'm going to add
another layer for those colored dots that we have going on into
the background. And that's something we'll
do in the next lesson. And I think at this point we can start really working
on our background, will basically add those
thoughts that we have going on here and then add a little bit of
background color. And we're getting
pretty close to having this particular layout complete. I think I'm going to add
another little flower in here or maybe a bud. And then we can tie up all the loose ends and it
will be closer to being done.
6. Lesson 5 Fill In Dots and Using the Mop: Hi guys, welcome to lesson five. And lots of five here we're
gonna be adding some of those dots that I was talking
about in the background. These just helped to fill out the pattern and give
a suggestion of additional flowers.
Let's get to it. What I want to do here now
is just kind of add some of those colored dots that we had going on in the background. So I'm gonna grab that teal color and I'm gonna go to my
palette here and make it even a little bit brighter
because that linear blend there with the texture
definitely darkens the colors. One of the things,
if you are wanting your colors to be a little
bit deeper on your flowers, you could duplicate
the layer and then you could collapse the two together. That's something
you can decide on whether or not you want to do. What I've done in the
past two is taken that bottom layer onto my
hue and saturation and brightness and intensified and saturated the underneath layer. So if you look at it by itself, it's quite a bit more
saturated and lightened a bit, but you can see without it and with it the
difference that it makes. So that's something you
could think about doing. I'm going to merge it down. So I still got
just the one layer for the, for the flowers. And I'm going to go
to that other layer and we're going to start painting against
some of those dots. You can paint them or
you can stamp them. The brushes are all
stackable because they are individual stamps
when you first create them. So you can decide on
what do you like better. And I kinda like this rough kind of bleeding edge on these. So I'm going to do a
bunch of like that. I think I'll go a little bit
brighter on some of them. I'm going to switch colors, go with a bright yellow
and do some in yellow. And if you go over
it more than once, you're gonna get
darker and darker. Because these are
brushes that have been specifically created
as buildup brushes. And really you could go in and stamp a bunch of
loose ones wherever. And I'm gonna do
about there so I don't want it, if
anything over there. Press really hard for that. So I've made a big dot. I can do one over
top that's smaller. And that's another way to make a really cute kind of a flower. I like that. I'm trying to avoid having
anything in a straight line. So if you see me
redoing some of them, it's because of the
positioning and whatnot Mexico gonna
go to this leaves layer and I'm going to intensify
the color a little bit, so I'm saturating
it a little bit and brightening it just a touch and ethical do the same thing with my stems, saturate writing. I just want overall the feeling of it to be
a little bit brighter. And I think an orange
would be nice. So let's, It's a bit of
orange here and there, and you can definitely
combine different colors too. Now for the bud here, I'll do it in red. You can do basically just
a single shape like that. And you can go
back over it again to create what looks like
a second petal here. Just because of the
way that overlaps, It's going to create
what looks like depth. You can also definitely
go back and touch up any of the flowers that
you weren't happy with, the more you build it up, the more it'll cover. So if we have that red color
when we first put it on, of course it's
quite transparent, but we can also build it up by putting more and
more layers on it. But I'm really liking that
it's really casual and rough. That's kind of look, I
was going for some KYC. I've painted some of these
dots onto the wrong layer. So I'm going to undo that and go back to the right
layer and do that. On some of these, I'm just
adding a little bit of extra layering there just to make them look a
little bit dimensional. So I'm adding a
little bit of color along the outside edge there. And remember that
you can go back and just keep painting
with it and it will blend. Or you can use a smudge tool and make sure that with
the smudge tool you've also selected essentially
the same brush that when you're smudging, you don't end up with
a different texture. This is looking really good. I think what we can do now is go back and add a layer
beneath everything. And I've included
one of my marks. And this MOP is part of my
watercolor mobs brush sat, and that one has proven
to be really popular. Don't ask me why, but it's
got these kind of brushes that are very natural looking and really
kind of watered down. So you've really denote
your pigment and it's really great for
doing background, just adding a little
bit of color here and there because it's not
too opaque or intense. So I'm going to just
go through and put in a few areas of color. And you can see how
nicely that ends up kind of unifying
your overall design. So keep it subtle,
don't overdo it. And I think that really adds to the overall casualness
of this piece. And really we're ready to start
working on the background and we're gonna talk a little bit more about that
in the next lesson. But in this layer or
in another layer, you could definitely
be starting to add things like spatter and whatnot. Now with this mop brush, you can also use it to go in and add additional color to
some of your flowers. So you can see here on some
of my flowers that you can, it definitely see that
there's red or red orange, and then there's yellow as well. So you could go
back to that layer. You could work on the layer, which is what I would
recommend is that you pick a color that's nice and bright and go in and
just add a little bit of this other color
right into that. You can go quite small
with your brush, just one, depending on the
pressure you put on, it will get bigger anyways. And I like that. It also
can be used as a blender. So that helps to add
additional detail and make your motifs a little bit more interesting because they
start to bleed out. And it's as if they are bleeding into different areas of color. And that makes it also very watercolor or really realistic, because it's something you see a lot in these sort
of watercolors that are really loose is color
bleeding into other colors? It's as if it's been painted
so fast that the water is bleeding from one color to
another. I really liked that. I think that we've
really started to get a look happening here. And in the next lesson, we're just going
to really tweak it and adds detail on
the background. That's gonna make
it look super good. All right, so I will meet
you in that next lesson.
7. Lesson 6 Background and Texture Details 1: Hi guys, welcome to lesson six. In this lesson, we're gonna
just be finishing all of the details in the
background. Let's get at it. We're at the point now
that we're going to start working on our background, I'm going to work with a couple of these backgrounds
that I've put in there. I have a texture already, so I think I'm just going to use this background are
here and we're going to add some extra detail
in the background. I'm gonna do that on a
separate layer again so that if there's any adjustments
that need to be done, it's really easy to do. So we've got a little bit of background stuff going on here, but I think we can add a
little bit more to it. I'm not really sure
what color I want, but let's try with just a light teal and putting
in some of that. We don't have to do too much. And I think that might be just a little bit too dark for me. So I'm going to go
more to the yellows. And this is a color
variable brush. So it's built to change colors
a little bit like this. That's built right into the settings in the
Color Dynamics. I've got a bunch of
variations here. You can see this is a really fun way to
change brushes that you have by just going in and changing how the
color is working. And when we do a hue
shift like this. So I've got 8%, 9, 12% percent. What that does is it takes
the color on the color wheel, and if I choose the yellow, It's going to take color
from both sides here. So it's gonna take a little
bit of green and it's gonna take a little bit of
the orangey color. I've got it set quite
low at 6% or whatever. But you can change that. You can go in and really
experiment with it. But I kind of liked
that whole effect. I think I'm going to
leave that for now. This is just one of the possibilities
that I'm showing you. You could go in a case like this where the pattern repeats there and it's really
obvious back in with that MOP and just
change it a little bit. You don't just go in and
make a change there, so it's not so obvious. The other thing I
want to do is add a little bit of texture. And I think I might just
lighten this background it. And I'm going to go
on top of everything. So all my layers here, I'm going to add a new layer and I'm
going to go in and I'm going to add some spatter. I'm going to actually, I'll do it right now. I'm going to duplicate it
and then I'm going to take that one and I'm
going to drag it into the set that
I'm giving you, but that at the bottom and
now you've got it as well. And we're gonna go in and
just put in a little bit of spatter and these casual
sort of artworks like this, it's really likely
that you would have had spatter when you
were working on them. So that's kind of a fun thing to add to the overall
roughness of it. If that is too much like you're stamping
and you're getting it way into the flowers and you don't want that stamp way
over here and you'll get a lot less in
your actual image. And there are lots of different textures that
I've given you in the past. So definitely experiment. And there are built-in
textures that you could also use here in Procreate. I'm going to also go for
this finer and then spatter. That one I think would be fun to do on the flowers themselves. I'm going to add a layer
just above the flowers. I'm gonna make it
a clipping mask, so spatter only
goes on the flowers and let's maybe add
a little bit of red spatter that's
adding it only to the flowers there you can see it's not getting anything
on the background. I'm adding red to those flowers. Maybe I could add a little
bit of orange to this one. And that went over there
into the yellow flower. You can stamp it down and if you get it where
you don't want it, then you could also
go back in and just do a bit of an erase. I'll go a little
bit more yellowy to add a little bit
of texture to that 1 to really brighten the blue, to go in on the
blue flower here. And that's really
nice how it's added texture in to the
center as well. So that's something
you could do. I'm going to erase that
red out of there first and then stamp that
brighter blue in there. That's really nice.
And you can still go back onto your texture layer. I should have these all
labels so you could label that texture with
that finer spray. You could do some in
the background there because it's a lot
less obtrusive. It's just quite subtle. So let's look at our original and let's look at
our finished one. And overall, I think
that we've done a pretty good job of capturing the spirit of the original
rough one that I did. Remember that you can also add spatter and whatnot to any
of these other layers. So here we could still add a layer and make it
into a clipping mask. It'll still clip to that even with the layer mask in there. And I could take green. Let me just select a
green but go brighter. And then here I'm just
spattering a little bit of the fine spattered
on those leaves. You can see it there. And you could really go back
with that bigger spatter as well and put something a little bit more
prominent in there. And I think that that
looks fine for just really elevating the casualness
of our whole design here. This is your time to start
making some judgment calls. What works about this
and what doesn't work. So compare it to your
inspiration piece. I think that this yellow flower is a little bit
too weak in there, but it's not really
standing out. So that's something
that I could go in and change just by also reading either a
clipping mask or going with that clipping
mask that's there. But I could just create a
clipping mask for that flower, go in with my mop, get a brighter
maybe orangey color like that and then just
kinda MOP that in there. And that looks really nice. And I think that, that
red is kinda even bothering me too
because it's two reds. So here again, the clipping mask progress the color from showing
anywhere else. But it does a nice
job of changing, allowing us to change the
overall hue of the flower. And I'm going to even add yellow in on this one
here because I think that that has a way of unifying the whole piece when you bring some of those other
colors in there. And with this teal color here, I would go in and I think
that was maybe that color. I would go in with a
little bit of bright teal and a mop in some of that. And you could also go back to your original here and go to your hue saturation
and brightness, and just make slight
adjustments here. Like maybe we need to
darken a little bit or brighten it a little
bit, and it works. Well, yea, we just
fix the problem. So these are the kinds
of decisions that you're making as you're working
your way through this. Personally, I think it's
looking really good. I'm going to probably
do some tweaks off camera and I'm gonna
come back to you with sort of closing
thoughts and maybe a mock-up showing the use
of this little artwork. Alright, I will see you
in that next lesson.
8. Lesson 7 Review and Completion Plus Mockups: So after today we've got another watercolor
project under our belts. It's always so
nice and gives you such a sense of accomplishment when you've got a
finished products. I always love testing them
on mockups. As you know. Here's a couple of
the ones that I did and I like testing them on really contrasting products are definitely checking
it out as a wall art, but I always want to add some
other piece that would make potential customers look at the finished design and
imagine it on their products. That's always something
to keep in mind. And I know I don't
mention it very often, but all of these things can
be added to your portfolio. And of course, we'll give you additional products that you can sell as assets on sites like Creative Market
for a design cuts. If you liked this class and
you like my teaching style, make sure you hit that
follow button up there. That way you'll
be informed about my classes as I post them. I'd also like to encourage
you to check out my website at the
loris art dot ca. On that site, you'll find a
lot of artists resources. And I'm really working
on it and spending a lot of money on developing
that site further, I'm hoping that you're gonna be one of the early adopters. That your name on that list and that's at Dolores Hart dot ca. Make sure you check out the
artists resources there. Now I haven't mentioned
lately checkout my shops. The biggest one I have
is that Sawzall.com. I also have a shop on society
sits under my own name, but also under the umbrella
of out of the blue. I'd love any feedback
that you can give me on these classes. Make sure you leave me
a review if you have a second and anything
in the discussions, any questions I'm
happy to answer. I'm trying to keep these
classes as short as possible, so I'm going to
sign off for now, But by and I will see you soon.
Delores Naskrent, Creative Explorer
