Master Line Brushes in Procreate: Illustrate Vintage Sardine Tins

1. Intro : Great design can show up in the most unexpected places like a simple sardine tin. In this class, we're going to make our own s sardine tin illustrations in Procreate. My name is Claire, I'm an illustrator and lettering artist in Madrid, in Spain. Sardines are a part of life here, and their beautiful packaging can be a great source of inspiration. This class is a great way to practice your linework, textures, and creative thinking all within a contained, playful format. Sardine tins may seem unusual as a topic, but they are packed, pun intended, with opportunities to explore illustration, lettering, vintage packaging, storytelling, and more. Along the way, I'll share some fun inspiration from real sardine tins, tips for working more efficiently and procreate, steps for creating your own printed greeting cards and ideas to help you make your design truly your own. I also want to pay some extra attention to lines and line brushes and how you can use them to add charm and character to your illustrations. By the end, you'll not only have your own mini collection of sardine tins, you'll also have new techniques and knowledge that you can apply to future projects. This class is suitable for both experienced and beginner illustrators, because we're going to focus on your ideas and your process first. I'm going to use Procreate for this project and some of the resources will apply only to procreate, but you can follow along whichever way you prefer. Let's get started! 2. ✨ June Giveaway - Deadline: July 10th ✨: This month, I'm running a giveaway, while one lucky winner will win a one year Skillshare membership. Not only that, but everyone who enters will also get a little thank you gift for Procreate. Check out any of my Skillshare classes long or short. Then leave review for the class or share your student project. And lastly, fill out a quick form so that I can contact you when you win. As a thank you gift, you'll receive my new line of toolkit brushes for Procreate. This set also comes with a brush intro guide with valuable procreate tips and tricks. After you participate, you can claim your gift right away and start using the brushes in Procreate. Each new review or student project will count as a new entry into the draft, so make sure to submit the form again. I know that your time is valuable, so just keep in mind that I've got shorter classes as well, like this 12 minute class over here. All the links are in the notes. The giveaway is open until 30 June, and I'll be announcing the winner of the Skillshare membership at the end of that week, both in my newsletter and on Skillshare. So to recap, to enter in this June giveaway, check out any of my classes, leave your review or student project. And lastly, don't forget to fill out the quick form. The link is in the notes. And for more update, subscribe to my newsletter. Good luck. 3. Why Sardine Tins?: Firstly, I want to share a little bit of the history behind sardine tins because this is super interesting. Fish in tins originated in the 19th century as a way to preserve fish like sardines, entovies, mussels, and more. France, Spain, Portugal, specifically, all have a longstanding tradition of sardines in tins. And fish in tins is something that's part of everyday life. They are everywhere and they are usually easy to recognize by their bright colors and sometimes even pretty luxurious packaging. Sardines are celebrated in numerous ways. They are an icon in Portugal. Lisbon is famous for their decorative sardine tins that are also sold at souvenirs. In Madrid in Spain, which is where I live, there is even a sardine festival, which is centuries old. And Portugal also holds its own annual sardine design festival. Sardine tints often feature retro topography ornate frames, vibrant colors, and include hand drawn fish or fishing motifs. Each brand has its own unique packaging design. However, you can spot some similarities between most tints. You've got lots of bright reds and greens and oranges, which remind viewers of the sunny seaside and the colors of the Mediterranean summer. The illustrations on tins are often quirky vintage or historic scenes, and the topography can be elaborate, handwritten, or have a bit of an art nouveau feel depending on the tin, but it's usually elegant and rooted in traditional lettering techniques. There's so much history behind these tins, and they have become a symbol and a popular souvenir. It's so fascinating to see how art and design can turn such a simple product as tinned fish into a centerpiece. You now see sardine tins commonly on ceramics, tea towels, on postcards, and much more. And it's not surprising that they are now seen in surface design all over the world. Sardine tins are a really great source of visual storytelling and inspiration. There are these little small frames that can contain lots of detail. It's a really nice way to be able to combine typography, character illustration, packaging design, and much more into this little shape. Drawing these tins is also perfect for exploring your style, exploring lettering, and they can be used for a variety of products in surface design. I came up with the idea for this class because I made a collection of tins for a client and I realized when I researched this topic, how much there is to know about sardines and sardine tin design specifically. I attached some articles and info in this PDF guide in the resources as well. In the next lesson, let's talk about what's coming up in this course. 4. Overview & Resources: Before we get started, I want to give you a little overview of what we're going to do in this course and what you'll need. For your project, you're going to illustrate your own sardine tin. In this, we'll focus on our shapes and specifically our lines. This is design that we're going to be making in the next lesson, and I'll explain step by step what I'm going to do in Procreate. I'm going to go over the steps slowly, but some experience in Procreate would be helpful, as I'm not going to explain all the basics of how layers and brushes work. You can either follow along with me or make your own version. After that, I'll talk about lines and finding your style with line brushes, and I'll give you some tips for creating with lines in different ways. Then we'll create another sardine tin. We'll follow the same process, this way, it will become a little bit easier to do. At that point, if you feel confident, you can change it up a bit and I'll also give you some ideas for adding your own style on this. I'm a big fan of printing and I want to show you whenever I can, how you can take your ideas out of the Procreate gallery and turn them into finished printed pieces. I'll show you some ways that you can turn this design into a postcard after that. Lastly, I'll share the third design Tin number three. This is going to be a little bit quicker. I won't talk as much and I'll just leave you to follow along. As you can see, this is a pretty long course. We're making these three designs. You can pick and choose which one you want to follow along with. But the reason that we're doing three in total is because making this a little series, a little collection is incredibly valuable. It means that you've created a collection that you can easily turn into a pattern or a collection of postcards or stickers, for example. So this is really helpful for your portfolio and cementing your drawing process a bit as well. About materials, what we're going to use in this class is, of course, your iPad and Procreate, in the resources you can find a color palette. This is the one that we'll be using, so make sure to download that. Then I'm going to use some brushes from my liner toolkit for details because I want to show you how these line brushes actually work. But they are not a necessity. In the resources, there is a little PDF guide, and I have some info on default brushes in procreate as well. So recommendations that you can use instead. I'm also going to be using this basic monoline brush for basically the shapes and the coloring in process. Lastly, for inspiration, you can have a look at the Pintssbard which is full of inspiration for colors, different themes and puns and just lots of ideas to spark your inspiration. And all of the links for absolutely everything is going to be in this PDF guide in the resources as well. And lastly, don't forget to share your work in the project gallery once you finish either do three tins or just one. It doesn't have to be finished, even if you just started with a mood board or a sketch, that is more than enough, just keep in mind that you can share whatever you want in the project cademy. In the next lesson, we're going to get started. Make sure to grab your iPad and your Apple pencil. 5. Tin I: Sketch: We're going to start with our first sardine tin. This tin in yellow. We'll start with a sketch, and then after that, we're going to build up our illustration in layer. We'll start with the tin and then add our scene on the packaging and our sardines and add our details on top later. Let's start with a new canvas, 2,500 by 2,500 pixels. That should be big enough to use this as a small print as well if you want to print this. Something to keep in mind here, the color profile should be automatically on display P three. If it's not changed up because otherwise on RGB or CMIK the colors will look a bit muted, so you won't have the same result as me. Let's start with a sketch. I'm using a sketch liner from my liner tool kits, but use whatever sketch brush you're comfortable with. I'm going to turn on a simple guide for reference. We first want to create the outlines. This is the shape of our tin and we're making this horizontal And we want to make it look like this tin is opened slightly, and it's kind of this antique opening, so it is a little twisty thing. That way we can see the sardines inside as well as a little detail. And then we can add some lettering, maybe some script on the side. That leaves us with lots of space on the packaging to add a little scene. Maybe something with a boat and some waves. This is a little scene that you typically see on sardine tins because it's quite historic and it's like a small town fishing boat. Then we can add some more details, some flourishes. We have some space to maybe add a little stamp. This is something where you can add just a bit more lettering so something that's on top of the packaging. That's pretty much it. That's our sketch. In the next lesson, we're going to start building our shapes. 6. Tin I: Color & Shapes: Let's bring down the opacity of our sketch. As I said, we're going to start with the basic shapes with the tin. We're going to think about everything that's going to be on separate layers. Everything that overlaps is pretty much on a separate layer. This way, we can add lines and textures in between in a much easier way later. For building all of these shapes, I'm using the simple monoline brush. Use any smooth brush that you're comfortable with. Then I'm using this yellow for the tin. Make sure to add a new layer underneath the sketch, and I'm going to show you a little trick for making your tin. Making this rectangle shape with round edges. Start with in one corner, drawing an ellipse or circle. Then duplicate that layer and make sure to turn on snapping and then you can move that circle to your other corner. Merge those two layers and then duplicate that layer and then move that layer to your other two corners. Now you can merge all of those circles and then connect them by hand. I like to draw these lines just free hand because it feels a little bit more handmade and a bit like wonky. But you can make straight lines here as well. A quick way to fill in multiple shapes is by dropping your color into your first shape and then the color drop tool at the top will show up and then you can tap on continue filling and then tap on the rest to quickly fill in your shapes with the same color. As we're going to be using this monoline brush quite a lot, I like to pin it to my recent tab. That way it's always close and I can easily find it back. If you're not satisfied with your shape here, you can make adjustments in the selection tool and then to warp and then you can change the outline of your shape slightly. Next up, we want to make sure to add depth to our tin. Let's duplicate this yellow layer, and then let's select our slightly lighter yellow. Turn our bottom layer to Alpha lock and then fill layer. Now we can simply change the size of that layer underneath to add the sides of our tin. I'm making that bottom part a bit bigger because our lettering is there and we want to give it a bit more space. Then I'm cutting off these curves a little bit. We want to make sure to do that with our smooth monoline brush again. Tap on eraser and hold to make sure to erase with the same brush. And that's the basis of our ten done. I don't think we need a drawing guide anymore, so we can turn that off. By the way, in the actions menu and then in preferences, you can see that I have my brush cursor turned on. This means that you can basically see the shape of your brush on your canvas. I like to have this turned on sometimes, especially when we're working with different lines, which we'll do later. That makes it a bit easier to see where exactly your pencil on your canvas is going to be. Next up, we're going to change the inside color of our tin. We're going to duplicate that darker yellow layer again and then turn that top layer to Alpha Lock and we'll change the color to that light pink and then with the selection tool, we'll make it slightly smaller. Then you can see we've actually just created a line around our tin. This pink is going to be the color of the inside of our packaging. And we'll use a similar pink for the background of our little scene on our tin. But I want to make sure it's a little bit lighter. Let's select something that's slightly lighter than our already light pink. Then we'll just fill up that half of our layer. I'm actually thinking for some contrast, let's make our inside of the tin a bit darker. We'll use that middle pink. Next up on a new layer, let's also draw the rolled up part of our tin. I don't know what it's called. That will be light yellow as well because that's on the outside of our tin. For straight lines, you can simply draw the line and then hold down your apa pencil to create straight lines with the quick shape tool. And next up, let's draw our fish. I'll make these a slightly different colour, but the base will be white, so let's add that on a new layer. As you can see, when I open my layer menu, everything is really organized on separate layers, so make sure that everything is kind of in the same place. And I think it's time we can start on the shapes of our little boat and our scene on top. On top of your pink layer, add a new layer and then turn it to clipping mask. Now we can create on top of our pink in the boundaries of that layer. Let's start with the bigger shapes first. Let's start with that sun in the background. By the way, as you can see, we're still using the monoline brush. We're creating everything in smooth brushes so that everything matches. And then again on a new layer, make sure to turn that to clipping mask again. Every clipping mask that you'll add on top will all be clipped to that pink layer and we'll use that light blue for RC. I'm sure that you've noticed by now, this color palette even though it has nine colors, it is actually just three colors, and then I added a darker and a lighter tone of each. We're using a very limited color palette, but we've got different tones of each to play with. Then let's add our clouds in white. I make sure to add this on a new layer again. I actually don't think we're going to make any changes to the sun and the clouds. So I'm actually just going to merge those two. Now let's start drawing the basic shapes of our boat. I'm actually just going to use the selection tool and then the free hand option to draw a shape. That will also give you really sharp edges, and it's a really quick way to draw without having to use any brushes. Then just drop your color into your selection. We'll do the same thing with the white as well. And then I actually want to use this slightly darker yellow on the top of the boat, but it cannot overlap with the sun, so I'm just going to fix this by just making the sea a little bit bigger. Then I'm just moving everything up a little bit. And let's add a couple of basic details like these guidelines or polls. By adding some simple shading with our second tone of yellow. I'm just selecting the bottom half of that boat and then adding that color. Then some basic little windows in blue. And then for a pop of color, we can add this little life preserver, I think, is what it's called in white and red, but we'll just use some dark pink for this as a little detail. Maybe lastly with white these small little windows as well. I think that's our boat pretty much done. And on another layer, let's add the handle of this tin as well. Let's use pink for that. To make these straight lines, just creating a rectangle, holding down the upper pencil, and then the quick shape toolbll creates straight lines. Now that we've got all of our main basic shapes, let's change our background color to the lighter pink and let's make it actually even a bit brighter, something very subtle. That will also allow us to add some simple shading. I'm just going to use the pink for that. And then basically follow the shape of our tin underneath. And lastly, that handle, we could maybe also use a bit of shading underneath. And this is our sardine tin so far. 7. Tin I: Stamp Brush: Before we continue, let's group our layers, just swiping right on all of these layers and creating our group to keep things organized. What I want to add to the little boat here is some little sardines in the water. But there's going to be quite a few of them. What we can actually do is make a stamp brush so that we can reuse this little illustration multiple times. Let's create our sardine stamp brush. We can do that in our same canvas, turn off your group and your background and then add a new layer and select black. If you have this liner toolkit, you can check this croissant stamp brush and you can see that every time you tap, you get this little repeated element. That's what we want to create as well. Use your simple monoline brush and then make sure to use the whole canvas to draw a simple fish, sardine. In fill in your shape with black because we want to have one filled up shape. And We also need a background for this, just fill another layer with white. Go to the actions menu to add and then copy Canvas. If you have the liner brushes, go to this croissant stamp, swipe to the left and then duplicate because we can simply use that stamp brush. If you don't have this, go to the plus icon to make a new brush. And then go to shape, import and paste. Now we created a stamp with our new shape. We're going to make just a couple of changes to this. Firstly, go to stroke path and then turn up the spacing. Especially if you started with a new brush, make sure to turn up the spacing and that will turn your line into a stamp brush because you're giving that shape lots of space in between. Then let's go back to shape. Here in shape properties, you can see that you can play with the scatter and that will change the rotation of your shape. In this case, I want to turn the scatter on just a little bit. Then most importantly let's turn on the flip. Let's make sure that it looks like the sardine is swimming in two different directions. Next up in properties, make sure to turn on the stamp previews that you'll be able to see your stamp shape in the brush library, and then you can change the maximum size of your brush here as well if you want to. Lastly, about this brush, let's change the name of our brush, of course, to make sure to save your changes, create a new set point and this way, your sardine stamp is saved. I'm just making this preview size a little bit bigger. And now let's test it out. This is our new sardine stamp. We're going to use this right away in our illustration so we can delete these layers and then turn on our group again. Then let's go to our boat layer. Let's add our stamp brush to this layer with our blue. I'm just tapping a couple of times so that we add a couple of these. Then I'm also going to use that darker blue just to add a few different ones. That's a really easy way to add your little sardine as a stamp and that makes it much easier to use. Of course, you can easily do this by hand, but this is a fun way to add it as a little stamp and have it saved as a pattern or a line of sardines. We're going to be using this sardine stamp in all of our three tins in different ways. In the next lesson, let's continue with our illustration. We're going to add some details with our line brushes. 8. Tin I: Details & Lines: Now that we have most of our basic shapes and our stamp brush as well. Let's add some details to our tin with our line brushes. Let's continue with our C. We're going to add some waves to this. Then I'm going to use this retro liner. This has a bit of a jittery texture, and we can use that for our detail. We can use the middle tone of blue for that. I'm just starting with a few lines at the top. Then a couple of waves randomly in the middle as well. I maybe for some quick shading just like a line underneath the boat so it doesn't feel like it's floating so much. Then perhaps with white, maybe we can bring down the opacity a little bit, just a few more waves and highlights. It really doesn't have to be perfect. It's just to add a little bit of interest. So we're just breaking up that big block of blue. Next up, we'll just continue with our same retroliner brush, and we'll do the lettering on the side of our tin. Let's add a new layer on top of the first yellow layer. Then we need a darker tone of yellow on top, maybe the darkest yellow that we have. Then I'm roughly following the sketch that we have. And this lettering really does not have to be perfect. If you don't have any experience with lettering, this is a great way to start trying it because this lettering isn't the main part of our illustration. It's just a little element to our packaging. So it actually looks nice if it's not that perfect. It kind of adds to the whimsical feel of the tin. So I would say just try it out. And to the side of the tin, that's also add just a couple of flourishes. They can just be these little curls. They don't have to be perfect. They will feel more intentional if you just repeat them a couple of times. And we'll add those same flourishes to our seen on our tin, as well. So let's create a new layer on top of our seen. And then with white, we'll also add these same little curls in the corners. Aw that we have these flourishes, we also want to add a little frame to our scene on top of our boat and our sea. You could either add a line or a double line, more flourishes or for example, this dotted liner. We'll just add that in white and add basically just connect our flourishes. Let's also add a dotted line on the side of our tin. I'm actually just going to draw that by hand with the retro liner because as you can see here, this dotted liner, I specifically created this to add lots of different colors. Every dot is a different color. But in this case, I don't want that. I want them all to have the same orange yellow tone. Let's continue with our retro liner. We'll add some detail to our little handle. I'm just using the darkest pink we have and creating a line on top of that handle. Next up, let's add details to our sardines. For that, we'll do that directly on our sardine layer. Let's turn into Alpha lock. You can do that by tapping on the layer and switching to Alpha lock or swipe to the right with two fingers. Then we're going to select our dusty liner brush. This is a line brush that has a bit of a well, dusty look. But if you turn up the size to maximum, you can see this is a bigger size and so we can actually use this for coloring in as well. That's what we're going to do for these sardines. Let's use our middle blue. I'm simply starting at the top and creating this little gradient by adding a really soft layer on top and then using the opacity to tone it down a little bit as well. We want to create this textured gradient with blue and white. And then what's missing is just a couple of details. So with our monoline brush, we'll add some ice. And then as a little cute touch, I like to sometimes add a little blush to my character just with pink, just a little dots on the cheeks. Because we've been using this retro liner brush in our lines, we'll use that again to add the lines on our sardines. Is it the gills? I'm not sure what it is. If you have a lot more of these double line details that you want to do, you could also use something like this duo brush that allows you to do stuff like that a lot quicker. You can also use that for making frames, for example. What's missing from this piece is just a few more details, some shading and some highlights. That's what we'll do in the next lesson. 9. Tin I: Shading & Finishing Touches: There are still a couple of things missing. So let's start with making this little stamp on top of our packaging. I think we can use our pink for this, something that really stands out. Then we're going to use this flat crayon liner that has a little bit of texture and it has these flat ends, so that will be really nice for our letters inside. What we can add here is something of a detail, something that you would normally see on a sardine tin, something like with olive oil and salt or something like that. But we could also add a little pun, for example, a message that would look nice on a postcard. As you can see here on this packaging, it has this little stamp and it has something like original recipe. So you can add what you want here. I think I'll go with a little pun, so something like quite the catch, for example. I'll quickly do a little sketch on a separate layer with the flat crayon brush just to try it out. And this is a pretty small size, so I'm just roughly guessing where everything goes. It doesn't have to be perfect. And I think this works. I'm going to do the final version with the letters. And as you can see, this brush has these flat ends. I really like that for letters specifically, and it makes it a little bit easier to read on a small scale. I think that looks good. I'll just merge these two layers and then I'm just changing the placing a little bit, so it overlaps with our sea just a little. Next up, let's add some final details to this rolled up part, the opening part of our tin. And this doesn't have to be realistic, but we're just adding this little curl or roll detail with a monoline brush, just so you see what the packaging looks like. Before we continue with our shading, I just want to merge a few layers and that will make the shading process a bit easier. Firstly, I think this sun and clouds, I might just make them a bit lighter. I'm just bringing down the opacity a little bit. I'll just merge it with this layer. Then let's select our dusty liner brush. This is the one that we use for our sardines, and we're going to use this for our shading. We'll start with the tin itself first. Those are the yellow layers. I'm going to merge the two bottom layers of yellow. Let's add a layer on top and then set it to clipping mask and then change the blending mode to overlay. This is how we're going to add our shading. With our dusty liner, let's select black. I'm just adding a bit of shading around the edges so it doesn't feel as flat and a little bit on that edge as well and lower the opacity of your brush a little bit, so it's more subtle. So as you can see, because of the overlay blending mode, any shading that you add here actually turns into a more saturated version of your color underneath. Next up, we also want to add shading in the same way on our packaging on top. For that, you can either merge more layers, but we can also turn all of these to clipping mask and then on top, add our layer for shading. Turn that to clipping mask as well and then set the blending mode to overlay again. Then we'll do exactly the same thing. We'll add some shading underneath our sardines, so they look less flat. And a little bit more inside of the tin. Next, there would also be a little bit of shading underneath that rolled up parts on the top. I'm adding a little bit there as well. By the way, for all of this shading, you could easily use a smoother brush or whatever brush you prefer. But I like that it has a little bit of that dusty rougher texture. I like to keep my illustrations quite flat and graphic a textured brush like this is a really nice way to do it. Lastly, on top of I keep calling it that rolled up part of our tin. Let's add a layer on top, a clipping mask and then set it to overlay and I'm just adding a little bit of shading to the sides. The reason that we're using overlay for all of this is just because we want to stick to that limited color palette. This way, you're not adding any new colors, you're simply saturating your color slightly. That way you can also play with the intensity of your shading. You can change the opacity a little bit. I'm just merging the two. Lastly, here with the manline brush, I just want to add a little highlight and you can do that by just adding a line on top with the opacity down just a little bit. I think by now our sardintin is pretty much done. To make this a complete finished piece. Let's add some little stars in the background. This is optional. I just like adding something extra. I'm using the flat crayon liner to add these little sparkles or stars with yellow again. I'm just roughly coloring them in to give them much more of a handmade feel. Lastly, what I always do to add just a bit more texture. Again, this is optional is adding an overlay texture on top. Add a new layer on the top, select black, and then I want to look for a noisy texture. I like the one that you can find in materials, and it's called noise brush, and you can use this to simply fill up your entire canvas to give it that slightly noisy, gritty texture. And then change the blending mode to overlay. As you zoom in, you can see that it adds that gritty quality and it saturates your colors a little bit, just like we did with the shading. Then I bring the opacity down to about 40%. 10. Share your Work!: So we've added our texture on top, and now's the time to make any last changes to your illustration, any adjustments that you want to make. And then at the very end, make sure to add your signature as well. I'm going to use pink for that, and I'm just adding it in the corner. And this is our final illustration. Don't forget to export your work and share it in the project gallery. Even if it's not finished, even if you just have a sketch or whatever, I would love to see where you create it. Now let's take a little break from your iPad. And in the next lesson, I'm going to tell you a little bit more about lines and line brushes in Procreate. 11. Break: About Lines: Now that we've finished our tin, I want to give you some tips about lines and how you can use them in your illustrations. We've used a lot of lines in our illustration, of course, and we use them all the time in our art. But I want to show you how you can use your lines more intentionally and how that can actually change the feel and the look of your illustrations. As you probably already know, with lines, you can create shading, highlights, depth, rhythm, repetition, movement direction, and much more. But the way that we use them changes the feeling of your art. For example, static straight lines convey order, stability, and it can create a more graphic look as well. Round curved lines can show calmness, kindness, comfort, and they can feel organic. Sharp corners and lines can give the feeling of energy or movement, but also danger. The same applies to shapes and patterns as well because those are made up of lines as well. Because of all of these associations with lines, we can convey the desired atmosphere and our art or show the personality of something. The next time you look at cartoons, it will become really clear how that is done. So for example, villains, dangerous situations, moments with lots of energy. They can be very angular, have sharp lines and shapes. Heroes, nice people or calming backgrounds, they would have lots of round shapes. Lines are always supposed to be intentional, even if subconscious. The way that I use my lines in my own personal work is by making them usually wonky, not perfectly horizontal or vertical, imperfect. This gives this feel of something being quirky, retro and innocent, that has slowly over time become part of my style and how I want the audience to see my work as well. So the way that you use your lines and details can become part of your style and the more you practice, and the more that you think about how you use your lines, the more that you can use it intentionally. And that's what we did in our sardine tin as well. Because of the lines and the details, you make it special and you give it its own unique look. We'll start with the same shape and colors, but by changing the lines and giving a detail, you get really interesting results. As you can see here, we use lots of soft curves, wonky lines, and that makes it feel sweet and innocent. We really only use sharper lines in our waves and that's really just a creative bit of contrast. But you can even see in the lettering that we did those curves, the script, everything feels very sweet and imperfect and that really shows the personality of our illustration. In conclusion, once you understand how lines work and how you can manipulate them to change the look and feel of your art, you can use it to your advantage and use it intentionally. You can have a look at the Pinterest board to see how this is done. Most of these sardine tin illustrations, they have lines that are used really intentionally by giving it a really quirky and fun, soft, innocent look. If something catches your eye here, feel free to make a screenshot and add it to the project gallery, as well. This would be really inspiring to see. In the next lesson, we're going to create our second illustration. 12. Tin II: Color & Shapes: But in this lesson, we're going to make our second design to build our little sardine tin collection. We're going to be following the same process and the same brushes and color palette. You can follow along or start thinking about making small changes or lines. Either way, the second time should be a little bit easier, but I'll still guide you through the process. If you haven't done so already, make sure to group all the layers in your first tin because we'll work in this same file on this canvas and we'll start with our drawing guide and a sketch again. For safety, you can swipe left on your first tin group and just lock it so you don't make any accidental changes. This tin is a little different because we're making a vertical format and on the packaging, we'll add a little pun because this would be really cute as a postcard, as a greeting card, for example. So we're adding our three sardines again. Then for our lettering, let's add this big oval and we'll use that as the frame of our letters. There are so many cute little ponds that you could add to this fish sardine theme. I'm thinking of a catch or something. Either way, pick something that is short. If you want to pick something else, just make sure that it's not too long and that you can divide it into these two lines. Again, we'll add this little C element, and there may be a little pattern in the back. And we've got some space on the side. 13. Tin II: Details & Lines: But let's turn our packaging, the pink roll part to Alpha Lock and then we can add our little line detail. I'm turning the sketch back to black that will make it easy to see the details that we need to add. Let's move on to finishing our sardines. For that, we're using our dusty liner again. This time, let's change up the color. Maybe we can make our sardines yellow this time. Remember to color them in by doing this little dusty gradient, start on one side, on the left, and then use the opacity setting to slowly fade out that yellow. Then with the monoline brush, we'll add our eyes with white and then dark blue on top. I'm adding the little cheeks with pink. And then with the retroliner adding the final lines. I since we've got the retro liner selected, let's add the rest of our lines here. We're adding a detail to the handle as well. I'm just doing that on the same layer with the dark blue. Let's finish up this side of our tin by adding our lettering, maybe with the lightest pink. My sketch is not quite in the right place here, but since we've done it before, it feels a little bit easier to just do this again. And just add a few more flourishes when you have the space. And next up with the retroline we're also going to add some lines to this C bits, just like we did on our last ten, with some darker blue. And with some white as well. Okay, we're making really good progress. Next up, let's add some shading underneath. This will be our layer underneath our tin. Let's use the lightest pink and then just with the monoline brush, add a and then just add some shading underneath. We're making it a little bit more subtle by lowering the opacity a little bit. Now there are just a few details missing like some shading. To make it easier to add that shading on top, we're going to merge our pink tin layer with the letters on the side. And we'll add our dark pink layer to that as well. Then just like before, add a layer on top, set it to clipping mask, and then set the blending mode to overlay and we'll use that dusty liner for this. With the opacity just slightly down, we can add our shading to the outside of the tin. We're going to do the same thing to the inside of our tin as well. You can add a layer basically in between our se layer and our dark blue layer, basically of that oval because that's where we want the shading to be. Turn it to a clipping mask and then to overlay, and then you can add your shading inside the tin. Well You can also add just a little bit to the packaging on top. Lastly, we'll do. We'll add the same shading to the very top of our packaging. Add a clipping mask to this as well. For a little highlight, we'll use that monoline brush. I'm just adding this little line on top. For some texture, let's add a layer on top and then we're going to add our noise brush, which you can find in materials and then noise brush. Let's select black and fill up the entire canvas. And then set the blending mode to overlay and turn down the opacity a little bit. Now we've got our gritty texture on top. And that's our second design finished. Just like in the first tin, you can add something like little stars or sparkles around your sardine tin as well. That is optional. Don't forget to add your signature, of course. Towards the very end, I'll also show you how to actually put all your sardine tins together into one composition. But if you just followed along with this one, this is going to be your finished piece. I hope that you had fun in this lesson and I hope that it felt a little bit easier the second time around. Don't forget to add this result to your student project as well. 14. Tips for Printing: I quickly want to show you what your illustrations could look like as a postcard. This is completely optional, but I just want to give you some tips. I love taking what I make out of the Procreate gallery and turning it into something tangible. Printing is so fun and it is really satisfying to see your finished art on paper. You could turn your sardine tins into printable postcards like this or stickers or any other product in the world of surface design. You can make them for yourself or give them as a gift, and they're really great way to practice your printing skills. I simply took this to a local printer. You don't really need any experience for this. All you need is either a local printer close by or a printer at home. What I want to show you is how you can turn your tin into a printed version. I'll show you how to do this with the first tin that we made. Let's open that group and then I'm going to turn off the stars in the background and the background color as well. The shading. And then that little handle because that would be really difficult to cut out. Then we've got this texture on top. We do want to include this in a print, but we need to make sure that we have a cut out of that. For now, let's turn the texture layer off and then go to the actions menu and then to add copy Canvas. And then paste. Now you've got your tin on a separate layer where all the layers are merged. Let's add that to our group and then underneath our overlay, tap on your tin layer and then select and then we'll cut out our texture overlay, duplicate that layer and then cut and paste. Then we'll turn that selection back to the right blending mode to to overlay and then with the opacity down. Now we've got our texture overlay on top that is only visible in our sardine tin. This is what we're going to use for our postcard. With only these two layers visible, let's copy our canvas and then we'll make a new canvas specifically for our printing. I'm just using the screen size. That's the first one at the top. That one is big enough for a postcard. And then to the actions menu to add and then paste. Let's move our tin to the top right corner, and then we need to make a back as well. Duplicate that layer, turn it to Alpha lock, and then we'll fill that layer with our yellow. That's the color of our tin. Then let's go to the selection menu and flip your canvas, turn on snapping and then we can move that layer to the left. What you've done is basically create a symmetrical shape so that when you fold this card, you'd have the back of your postcard as well. Then all we need to do is just connect those two layers a little bit. Otherwise, there's very little space there to fold your card. I'm just adding a little rectangle there. Lastly, on the back, we've got some space to maybe add our signature. You could also add, for example, your social media handle. I would always suggest if you're selling your cards or giving them away, just add a little signature or something because people want to see where it comes from. That's basically it for your printed version. You could export this as a PDF. That is what you would usually use at a local printer and fast forward to the printed version. As I said, I just took this to a local printer and I use some thicker paper for postcards. And all this I'll have to do now is to fold and cut our card. I'm just using a ruler and just making a little indent in the middle and that will make the folding a lot easier to do and a lot neater as well. Then I'm just using scissors quickly to cut at this card. If you want some more tips on how to print your greeting cards, in my really short class procreate to print, I give you more tips on different routes you can take and how you can print your procreate files. This is the final results. If you do any kind of printing or perhaps even just a mock up of your sardine tin in some kind of product, I would love to see it. So don't forget to add it to the project gallery. 15. Tin III: Color & Shapes: In this lesson, we're going to make this sardine tin. By now, you probably know the process, feel free to give it your oat spin and make any changes if you want to. By the end, I'll show you how to add all of these to your final finished illustration. Make sure to group the other tin here if you follow along. You can keep that overlay texture separate because we'll need that for this specific sardine tin as well. Then we can lock all of those groups so we don't make any accidental changes. We're going to start with our sketch on a new layer and I'm going to turn on the drawing guide for that. The shape of this tin is a little bit more square, so just a little bit wider than the narrow tin that we made. I'm going to add our three sardines inside. This one I just want to keep a little bit more classic with lots of natural elements and then and then we'll add some lettering as well. Maybe something like fresh sardines in lemon and olive oil, and then we can add some leaves and some lemon slices. So lots of color. Feel free to change it up here if you want to. You can simply follow the same composition that I'm using but add something like a pun or something personal that you would like to add. And because this is just a sketch, we can cut and move stuff around in the composition. A to the side we've got some space for either flourishes or maybe that sardine stem brush that we made, we could use that there. Now we can turn off our drawing guide and bringing down the opacity of the sketch a little bit. Then on the new layer, let's start with our tin. We'll use the monoline brush and our darkest blue, and we'll start with our tin shape. Let's start with our circle in the left hand corner. Duplicate that layer, and then with snapping on, move it to the right, merge that layer, duplicate it, and move the second layer to the other two corners. Now you can merge those layers and now you can connect your circles. No. It doesn't have to be perfect. We can fix it a little bit with the warp tool in the transform menu to change the shape a little bit. And then let's fill in our shape and then continue coloring to fill in the circles as well. H et's make the rest of our tint. Let's duplicate that layer and then turn the bottom layer to Alpha lock. Let's use that other tone of blue. Fill that layer, and let's see what that looks like. I think there's not quite enough contrast, but let's just finish this up for now. Let's connect those two layers and then we might change the tone of this blue. Let's see what that looks like with our lighter blue. I think that's better. Let's continue. Let's duplicate our dark blue layer, and let's fill that with our pink. That will be the background of our packaging of our tin. Then the inside, let's use another color. Let's fill that with our light yellow. Then on another layer on top, of course, we need that open part of our tin, so the rolling part. Let's use light blue for that in the color of our tin. So now that we've got the basic shapes of our tin done, let's add the handle as well. And now we can add our sardines in white. Let's add a layer on top of our pink so that we can start on our packaging. Let's first make this banner. Let's do that in white to create a bit of contrast. We'll fill that in with white. Now let's add our lettering on top on a new layer with our darkest pink. I think that would look nice. I'm just using the monoline brush for this something with sharp lines to make it just easy to read. It doesn't have to be perfect because we can still make some changes to this with the transform tool. E. I'm actually just using the warp tool just to make sure that it's placed just a little bit better inside that banner. Then a little detail that we also added in our other sardintin is by just cutting off the edges of our letters. Now that the base of our lettering is done, to add just a little fun detail, we can add an in line to this. We'll use the troliner for that and then white. This will be on a very small scale. It's just a really thin hairline stroke in the middle of the letters. But from far away, it looks like a nice little detail. That's our main lettering done. Let's continue with the rest of our letters. Let's add those in white, and we'll go back to the monoline brush for these. I'm very roughly following the movement, the curve of the banner for fresh, and then cutting off the edges of the letters. At the bottom here, we could use a script just to change it up a bit. I think it might be a little too big. I'm just changing the scaling you know, and then adding a line underneath. Then just cutting off those edges again. Even with really simple script like this, I'm certainly not an expert. Just cutting off those edges just make it feel a lot cleaner and easier to read from a distance, I think. You can still move those layers slightly if you feel like you just need a little bit more space. Let's also add a frame around our lettering so is following the lines of our tin with the dotted liner. You could also add flourishes here. You can also just add a simple line, for example, following the line of your packaging here. 16. Tin III: Details & Lines: H. Let's add the final details. So we're going to add some lemon slices with yellow. We can just duplicate these and rotate them slightly. I'm also adding these little droplets. These are just little things to add to fill up the space and add to the composition. Then these simple leaves with this dark blue follow the shape of the banner as well. At the moment, the lemon slices look a little bit too basic. So we're going to use the retro liner and add some lines on top and white. Let's make it a bit bigger. M We've got some space on the side here. So I would really like to reuse that sardine stamp brush that we made earlier. We can add that in a line. So just make sure to add that on a separate layer. And then we can bring down the opacity a little bit of those little details. Et's finish up our sardines next. Let's turn that layer to alpha. Remember two fingers swipe to the right and then with our dusty liner, let's color these sardines first. Let's use pink for this one. I remember to add them a gradient, more pink on the left and then slowly fade it out using the opacity of your brush to a white. And then with the monoline brush, we're adding our Is. And little cheeks and then with the retro liner, our final lines. Maybe in the darkest pink that we have so that we reuse that from our main lettering. Let's also add a line to our handle. And to the top layer of our packaging, let's add that little rolled up detail that line, so it looks like our tin is being opened. Now onto the shading, let's add our layer underneath the tin so that we can add our pink shading with the monoline brush. Then for the shading of our tin, let's add a layer on top of the blue part of our tin. Then to overlay, set it to clipping mask, and then with the dusty liner, we can start adding a little bit of shading to the edges. Remember that the opacity is down a little bit, so it's just a bit more subtle. And we'll do the same with our pink layer as well and inside of the tin. Let's add a layer on top of the fish. Set it to overlay and now you can add your shading in the tin as well. We'll also add a little bit of that on the pink packaging. As a little detail, we also want the shading to be visible on our banner. But with whites, the blending mode doesn't work. Let's add a layer mask to our white layer and then simply use the same dusty liner there, so you have a little bit of shading on your banner as well. For the last bit of shading, add a clipping mask on top of the upper part of your packaging and add some shading to that as well. I don't forget to add a little highlight with the monoline brush. For the texture on top, you should already have that noise layer. If not, you can add it here again. And then I'm just bringing down the opacity a little bit. That's it. This is our third sardintin illustration finished. And you Make sure to group all of your layers if you want to finish your illustration here, make sure to add your signature and add any last details that you want to. But after this, I'm going to show you how you can take your three tins and turn them into one final composition. Let's go back to Tin number one. What we want to do is make a merged copy of this. Make sure to turn everything else off and turn the background off as well and then go to the actions menu, add copy Canvas, and then on a new layer, paste. We're going to do the same with our second tin. Deselect all your other layers, including the noise on top. Actions menu, add copy canvas, and then paste. Then third, do the same thing here. Copy Canvas and paste again. Now you can turn the background back on and we've got our three tins on merged layers. Because we're going to be moving these around, we want to make sure we don't do that with our original groups. Now we can scale these three tins up and down and move them in our composition. Because I make three distinct shapes, these look quite nice in a composition like this. I just play around and see what composition you like the most. Remember in the first tin, we added these little stars. We can add those in our composition to fill up the anti space at. Make sure that your signature is visible or added here again. Lastly, we can turn on the noise texture again on top. Make sure to export it and don't forget to share it to the project gallery. That's it. This is our final mini collection of sardine tins done. 17. Final Bits: You made it to the end. Congrats! Thank you so much for checking out this class. This topic was so fun for me to work on because I'm really passionate about this, and I really hope that you enjoyed it, as well. Feel free to send this course to fellow artists or creatives if you think that they'll enjoy it, as well. I also added a short tutorial to YouTube so that those who are not on Skillshare can create something as well. I would love to see what you've made, so don't forget to share your process and results in your student project in the Projects and Resources tab. And don't forget to tag me on Instagram. I love to share projects in my stories there. If you enjoyed this class, please leave a short review. This really helps me to make more classes in the future. And any suggestions or questions that you might have, anything that you want to share with me or other students, you can add that to the discussions tab. I also regularly share links and resources there. The liner toolkit brushes that we use are available right here on Skillshare, just like my other brush sets. You can find all of my other brushes for Procreate freebies, guides, and more in my profile, or check the links in the notes that you can find in the menu bar. Extra brushes like this are never a necessity, like I mentioned. Procreate has plenty to offer by itself. They're simply an addition, something for you to experiment with. As you've seen, I rarely use all of my brushes in everything that I make. I simply make a selection and stick to those for one project. I love creating illustrations like this in collections. So if you want to know more about this topic, creating a collection, greeting cards for Illustrators might be helpful for you. This class comes with a set of brushes and an in depth Q&A about licensing and selling your own greeting cards. So do check that out. If you want more tips on Procreate and how to speed up your process, check out Procreate Power Tips. I also like to share student projects in my newsletter, so join me there. You'll also be updated first on exclusive giveaways, tutorials, free brushes, and more. Thanks again for checking out my class, and I'll see you soon.