Mid-Century Illustration Fun: Make it Jolly!

1. Welcome: Hello, Mid-Century lovers, and welcome to part three of my Mid-Century Illustration Fun class series. In this class, we'll focus on recreating the charming printed look of vintage greeting cards and posters by designing your very own Mid-Century style holiday card. Perfect to send to your loved ones or to add to your print-on-demand portfolio. Hi, I'm Jutta an artist and educator from the middle of Germany. The Mid-Century Illustration style is my absolute favorite, and I've already made a handful of classes about it. I love exploring its many facets and turning them into easy to follow fun lessons for you. Today, we're going to create a cheerful greeting card that lets us play with a wider range of colors. We'll focus on achieving that typical grainy printed look with all its lovely textures and the subtle misalignments. We'll be working digitally in Procreate again, and as always, my classes come with plenty of resources. You'll get all the brushes and the color palette you need to follow along, plus my popular Jitterbug font, free for you to use in your illustration. Just like in my other classes, I'll guide you step by step through the whole process from the rough sketch to color interactions and print effects until you end up with a design full of the tro charm we all adore. This class is a follow up to my Mid-Century Illustration Fun Make it Wonky class. I recommend checking that out first to build a solid foundation. Now, are you ready to get jolly? Then I'll see you in class. 2. Class Project & Prep: In this class, we'll create a cheerful mid century inspired Christmas card. And, of course, that's the project I'd love for you to post in the project gallery. Of course, you can portray any other theme as well. The more creative, the better. To be fully prepped and ready for the drawing process, make sure you've watched the core class first, have your iPad and stylus handy, and that you've downloaded and imported all the resources from the projects and resources tab. You'll find appropriate brush set, the color palette, and my popular Jitterbug font all assembled in this zip file. By tapping and allowing the download, the file will be saved in your Files app on the iPad. To unpack it, simply tap the file, and to use each item in Procreate, just tap them and your iPad will take care of the rest automatically. Before I created my illustration, I built a little holiday themed visual library, the same way I teach it in my flagship class. You can skip that step and follow along with my exact illustration or create your own project with motifs you love. That's totally up to you. And that's all the prep we need. Let's get started with our sketch in the next video. I'll see you there. 3. Rough Sketch: Alright. Let's jump right in. I've already opened Procreate, and my canvas is set to 2000 by 2,500 pixels. I also have my brush set and my color palette handy. I am picking the black and my sketcher brush. Just like in the spooky class, we'll start by drawing down the simple rule of thirds grid by adding two lines from top to bottom, and two lines across. This is such an easy trick to get a balanced layout. Let's turn down the opacity of our rule of thirds grid and add a new layer for our sketch. I want to portray a little girl bringing her wish list to Santa to a nice and old fashioned letterbox. In the background, there's going to be some trees, and the rest is just going to be sky and ground. Let's start with the girl in the foreground. And the letter box in the background. So my aim is that the girl is gonna stand kind of on this joint here, and the letter box on this joint. An illustration appears more interesting when you put your main items onto these lines or points here rather than having it in the center of an illustration. So my girl, I want my girl to stand somehow here in a very organic, lively pose. And she stretches out an arm with her ladder, and the other one is hanging to the back. And then she has, I don't know, a nice hair do maybe with some pigtails and a nice hat. And the letter box, I want to be kind of around this joint here, maybe not that high, but almost. And it has some sort of a quirky perspective. And it stands on a nice post. I think the letter box is open. There's this kind of singing. And we're going to write letters to center on it. And then we have something like a hill here in the background. And here we have some wonky pine trees. Something like this. And this is our illustration. So we go to write something here down there in that corner since this is quite empty. So let's write Jolly wishes. And this is what I've added my font for. Feel free to use that. Let's see if our illustration is balanced. We have different heights. So the trees end up here, the ladder box here, and the feet of the Gur kind of here, which is roughly the same distance to the edge like it is here. To me, it appears really balanced. So let's move on to the next lesson where we're going to refine the sketch. 4. Refined Sketch: All right. Now let's move on and add another layer and turn the opacity of this one pretty down that it doesn't distract us too much. And if you are bothered by the rule of thirds, you can also make this layer invisible. And we are going to start with the background first and then put the main character on separate layer. So I noticed that the line of the hill is a little bit too high for me. I want her to peek over a little bit. So I'm going to make the hill the highest point of the hill more towards the center. And then I guess the girl is going to be a little bit bigger later on. So I like the shape of this wonky tree here and this one can lean to the other side. And this one might even be covered by the little girl. And remember, the wonkier, the better. That's the background. And for sure, we are going to add, like, big snowflakes, just simple little circles. Kind of like this. And maybe also later on in the snow. And the letterbox is going to have some quirky shape and also perspective. And then here we're gonna do some lettering. And I'm not really good at lettering, so I don't expect this to look perfect. It's gonna be very wonky on purpose. Alright, and as we said, the box is gonna be open. And there's maybe even some letters inside already, something like a pile, some on top of each other, and the girl's gonna put his letter in there. Then it has a pretty slim post, and it can be a little bit, you know, crooked and wonky, as well. And I want it to have, like, this candy cane pattern in red and white, something like that. Later on, we're going to add some So, you know, some lines, and maybe even a little bit of our typical wiggly lines as fillers. And I guess that's all what we need for our background. So let's move on and add another layer on top for our little girl character. And as I said, I want it to be a little bit bigger that it reaches beyond the hill here and maybe also covers some of the trees. It just creates more interest and depth in our illustration. So I need to make some adjustments on my rough sketch. I want the head for sure to be a little bit bigger. And then I want the coat, maybe to be a little bit shorter. And I don't want it to be right in the center because there wouldn't be the natural pose. I want it to be a little bit to the side. And I guess we need to adjust the arm then, as well. And here, maybe it's a little bit too long. Something like this, maybe. And the legs, she's standing on one. Now tippy toes. And the other leg is gonna lean to the back like this. And she has a very slim neck. And a scarf. She needs a scarf, something that flows around here. Alright, that's already much better. So maybe we can still put her up a little bit. That's a good thing in Procreate. You can really adjust to your liking. And maybe it would be nice if her letter also overlaps a little bit from the letter box. Alright, so let's go back to our girl sketch layer and start by refining. So I want her had to be really oval and quirky like this, maybe. And then her head. And her hair needs to be a little wider than the actual face. I think we need to refine that a little bit here. So the hair's a little bit wider. And I want more of a chin bump here, so just a little bit more curvy, and her face is gonna be Whoops. Like this, maybe. She's very happy, and she has a shiny pointy nose. And she's smiling. She's looking forward to her presence. And then she has she has a scarf around her neck. Something like so. And below the scarf, we have the arm reaching out and it's gonna be a very slim arm, something like that. And it goes here into her coat. And the same here, the other arm is going to peek out of this sight. And here's the end of her coat. And in her little hand, I want the coat. Let's see. I want the coat to get a little wider towards her hand, something like this. So she really has slim arms where the hand starts, there's gonna be a little bit wider just to create more interest. And then she holds the ladder like this, maybe. Whoops, now, and this is on the other layer. And back to our girls layer. So, and she's holding She's holding the ladder with her tiny little hand. And the other fingers are kind of bend away. And I only want to give her four fingers because I've noticed if you draw five fingers, the hand looks really crowded for whatever reason. So I'm just going to stick to two fingers. I like that a lot. Maybe though we could just move the ladder a little bit up. Like, turn it a little bit upwards. Maybe like so. The thumb is going to be hidden from our ladder because it's underneath. Yeah, that should be fine. Alright, so here comes her leg. And the other leg is gonna go this direction. And again, it starts wider and it's really slim. And here we have her thiny little boots. And with this one, she stands on her tippy toes. This maybe. And, of course, some wonky shoe laces. And the other one is in the air. And here's the other hand and her thumb goes to the ground towards the ground, and the rest of her fingers are bend upwards, something like this. Just tiny hands. And then her coat, now her scarf is kind of flowing to just add some movement here. And it's gonna have stripes later on. So let's get rid of the lines we the scarf is actually covering. A nice a nice, interesting detail would be if the ponytail reaches over the scarf because this way we can add some depth and interest again. And then in the end, we're going to do some whatever pattern. Oh, her coat needs a closure, as well. So she's going to get those nice long buttons here. And we have some loopy decorations here. Also on her. And I just think the pigtail here and the ear are not in the right position. So let's fix that. I think the ear is too low. And so is the pigtail. If the eyes are on this line, so the ear must be kind of here like this and her hair here, and the pigtail maybe comes out behind her ear. Just a drop shape like this. Although I think the head is way too wide on this side. So let's fix that. Let's push it inwards a little bit. Oh, yes, I get this is much better. And then we can fix the pigtail once more. So here we have a little bigger hair. The head is hidden behind the hair. And let's check where we have to have the pigtail. And then we can also think again about the scarf end. I feel like the ear here needs to be a little bigger. It's closer to us, so it can be a little bit bigger perspective wise. And then I want her pigtail to be maybe like this. Now, that's stupid. And I guess I want the ear to lean a little bit upwards, just to have a nice quirky shape, something like this, I guess. That looks perfect. And then she gets two very nice round red cheeks. And finished, she is. Oh, beautiful. I like that. I like that. I think this arm is a tiny tattoo long, so let's shorten that just by a little bit. Oh maybe the heat could be a tiny tad bigger. That's brilliant. I like that a lot. And we can make even more refinements if we think we need them while we're drawing. So, right, I would say our sketch is done. Again, we leave this place free here for our writing. Maybe we can shorten the letter box a little bit. We can do that right away. I just noticed we forgot the second end of the scarf. And I'm not so happy with this curve. So let's do the front once more. Okay, so I guess we are pretty happy with our sketch, and we can move on to the next lesson where we're going to rough out our colors. And I will see you there. We 5. Color Rough: All right. And in our next step, we want to rough out our colors. So let's move on and pinch these two layers together just to save on space. And I guess we can get rid of the rough sketch. And we can clean up some lines here. So let's go to the eraser and just erase what we don't need to have a little bit of a better overview. And now let's add another layer underneath our sketch and turn down the opacity a little bit. And now let's have a look at our color palette. So this time, I've added way more colors like seven colors, which is okay. In the 1950s and 1960s, there were also more colors in use, especially for advertisements or greeting cards, and that's our look right now. Since we want to replicate the vintage look, I want to put my off white in the background. This helps later on when we start with blending out layers as it gives a very, you know, vintage look with a little bit of a yellow wing because that's what paper did, right? The older it's gotten, the more it yellowed and the darker it got and it's gotten spots and marks because it wasn't that highly bleached as our paper nowadays. So we can replicate this when starting with a beige or off white hue in the beginning. So now let's add a layer on top and distribute the colors. Start with a background. So I want the sky to be pink. And let's move over to the jolly pen and make the size a little bit bigger, so. And then I want the snowy ground in my turquoise here like that. And I think later on, it would be nice if the hill is not on the same level as her hair. So we're gonna fix that in our next step. But for now, it's okay. We just keep it in mind. So the ladder box itself, I think it is gonna be brown, as well as her hair. Alright. Green. The trees are gonna be green. And then her coat is going to be red. I want to introduce even another color. I want to introduce yellow, as well. And then what else? Oh, yeah, her face is gonna get the skin tone. And I guess the rest, let's see. The shoes are gonna be black. And here the inside of the letter box. And the rest, I think is gonna be white. I ba da da da. Alright. And the scarf, as well. I also want the writing in white. And now I can show you how the colors are gonna change. I'm just going to tap the end and here we see a whole list of blend modes, and they all do something different. And for my taste, I prefer the linear burn blend mode. And as you can see, it turns everything a little bit more saturated, but also a little bit to the yellow side. I really like that because that appears so vintage, in my opinion. Alright, so I'm pretty happy with this distribution. So let's move on where we give everything its final shape in the final color. I see you there. 6. Color Blocking: All right. Now we're ready to give everything its final shape and color. And we need to keep some things in mind when we do that. When we have our layers in a blend mode, they go to interact with one another. So we need to keep the order of the layers and colors in mind, and we're going to keep every color in one layer. And then we will have to have a little bit of erasing ongoing, but I'm going to show you as we go. So for now, let's put our color layer, our rough colors at the very top. And turn off the visibility so that we are left with our sketch itself. And we said, we're going to put each color on one layer. So let's add the layers already for now. Let's start with one. And we're going to turn on the blend mode, linear burn right away, just to save us some time. And then we're going to duplicate this layer until we have seven in total. Okay. And now we're going to move our way up from background to foreground. And since there's going to be some interactions happening, we will do some erasing, and I show you some handy procreate tricks how we can do that in a neat way. Okay, on the first layer on top of our yellowed cream of white layer, we are going to start with the sky in pink. And I am just going to follow this line here, and we said the hill is not going to be as high. So we're going to do it like this. And then we fill it with color. Yes, I like it much better when the head peaks beyond and we can make the trees. Later on, we can make them a little bit bigger or a little bit further down. So let's think about, is there anything else we want in pink? I don't think so. So let's move on to our next color layer, which is going to be then the teal turquoise tone we have here. And here we can have a little bit of overlapping ongoing. That's no problem. And we collar drop again. And now we can see the first interaction here between these two layers. And to have that seamlessly, we can just, let's say, we select the pink layer by tapping, say, select, and then we switch to the turquoise layer, and we just do the three finger erase. And now it's erased everything from the teal color that was reaching beyond into the pink, and that's all done now. So perfect. That's exactly what we want. On our next layer, I guess we're going to start with green. But for that, I want to fix my sketch quickly because the trees are not in the right position for now. So let's go to the selection tool, select the trees and drag them a little bit down. Maybe let's see. Now, I want them to be a little bit more in the center, maybe. Yes, I guess that's okay. And then we can just erase what we don't need. Let's move on. Okay, we said we're going to go to the next color layer. And on this one, we're going to go with our green tone. Let's turn down the brush size to 9%. And then we're going to start drawing following the lines of our trees here. And I guess I want this tree to start above her hair. Alright. The green appears pretty dark, and that's because the green interacts with the pink underneath because we set the blend mode to linear burn. And to avoid the interaction, we're going to erase the exact shapes of the trees from the pink background. So if you're not happy with the shape, you can fix that right now because if we're erasing, that's going to be a damage forever. So you need to make sure we're happy with what we have right now. Alright, I think I like the shape of the trees now. So I am going to move forward. And I tap the layer. I tap se mag, and now I move down to the pink layer. And where you can see that. Here in the pink area is the stripes. That means this area is unselected. And here where the trees are, there are no stripes, so this is the selected section of the canvas. And now, since we're on the pink layer, when we do the three fingers crab, we delete the exact shape of the trees on the pink layer. And I can show you I turn it off the visibility, and now we see there's just a white empty space in the pink, and that's exactly what we want for now. Alright, I think the pans we said the pants of the girls should be green, too. So let's go back to the green layer. And as you can see, the green interacts obviously also with the teal background. So we can fix that in a second. And then we go to our Layers panel. We select the green layer, we go to the teal, and we say erase and boom, done. The green looks like the real green. And we turn the layer off, we see this areas empty in the teal. Great. Next is gonna be our red layer. Alright, let's move up to the next layer. We can turn green on again. And now we switch to our red. So, what we need in red is the coat of the girl. And let's make sure we stick to our confident lines. And before we're erasing, we need to make sure that we like the shape. So if there's any blobs or edges you're not happy with, we need to erase them or fix them first. Where else do we need red? We need red in her face. So for now, I'm seeing a problem here that the red coat is interfering with the green pens. So we can fix that pretty easily. We are going to the red layer. We select red. And now we're going to go to the green layer, tap the eraser, and just erase what's peaking inside the coat. And then no more overlapping. I still want to wait, though, with further erasing because I want to draw the white post first to just see where everything interacts with each other so that the strips are in the right size before we erase them from the layers below. So let's start by going to the next layer and go to the white and then we draw the post. And yes, we can't really see that because it interacts too much. So let's turn the blend mode to regular to normal again and fill it with color. And I think, let me see. Let's turn off the sketch. I think that's a good that's a good post shape, maybe a little bit smaller. And now we can very smart erase the red that's peaking over by selecting this layer, the white one. And now we invert the selection. By inverting is everything else around the post selected, but nothing within the post. And now we want to erase what peaks beyond the post. So we go back to the red layer. And we just erase what's peaking over. And we can't erase anything that's inside the post because this is unselected. Let's turn out the selection, and now we do it the opposite way. Now we want to erase, since we can't see our reds, we want to erase the reds in within the post. So let's stay with red. Let's tap Select. Let's go to the white layer. And now we can already see those two selected areas. We just erase these. Tada. And that's done. And I see there's still a little bit of a white left, so we can just manually erase that. Sometimes Procreate is not as accurate in selection, especially when you have not a very crisp edge, but like something like a jagged edge. And then it's possible that it doesn't erase everything right away. But that's okay. Alright. We also need some white in our scarf. So let's turn the sketch back on and we also need white for the letter and for the letters in the letter box and for the little pompom on her head. Okay, let's move on. We still didn't erase everything. That's okay. We can still do that later on. But for now, I want to just make sure that we have the right shapes and the right order before we erase too much and are going to be set. Let's just do that this way. Okay, we are on the white layer. We on white. Again, the wonkier you draw your lines, the better it looks later on. If you are too careful, you're missing the character later on in your illustration. So just dare to be however wonky. Our next color we need is yellow. And I know it still doesn't look right. That's okay. Trust the process. We got to move on layer by layer. And eventually, you're gonna see how it all comes together. And keep in mind, in every single piece, every drawing, there's this ugly phase where Nothing looks right. It looks really wonky. In the colors don't go well. But if you go on and push through in the end, it's gonna make sense. So, trust me, trust yourself. This is gonna be awesome. So, next layer, and we are going to go with yellow. So we said the flap here of our letterbox singi is gonna be yellow. And the stripes of the scarf. And here with the scarf, we can use the white layer as help by selecting the white layer. Now, we can only draw in the selected area within the scarf, but not here outside. So that's very helpful already. Let's go back to the yellow layer. Next one is going to be skin tone. And I see we have one layer to less because we added the white one. I didn't count the white one. So let's duplicate this for skin tone and brown. Okay. This is going to be our skin tone layer. And let's turn out the selection. And lastly, we're missing Oh, actually, we're missing two layers because we're missing brown and black as well. So, okay, let's go. Duplicate this layer, go to the next layer, which is going to be brown. And here we're going to draw the layer boox Since we have some unpleasant overlapping going on, we can fix that right away that we don't forget. For now, I don't like that the pigtail here reaches beyond the face. So I am going to select the layer with the face, and then I'm going to go back to the brown layer, pick the eraser, and just erase And now we don't like what's peeking from her skin tone into the hair. Let's fix that by selecting the brown area and go to the skin tone layer. And now we erase what's in there. And since we cannot really see that, we need to turn off some other layers. Let's go back. Let's select this layer and go back to brown. And now we can erase the hair. Here I want her ear to be in front of her hair. And here I want her ear to be covered by the hair for more perspective and interest. Alright, let's turn yellow back on. And then turquoise too, maybe. Alright. And now the last color that's missing is our black. So go to the last layer. Pick black. The and, I'm not so happy with the post, I guess. Let's go to White, select white, and select the red layer at the same time. And then we're going to go to our selection tool, and we just rotate the post a little bit. Yes, amazing. That looks great. And now we can also see all the weird interactions. But we're going to take care of that in our next lesson. I'll see you there. 7. Erasing & Shifting: Now, we've noticed that we have some weird interactions. We took care of some of them already, but we want to do the rest. In this lesson. Let's start from our latest layer. Let's go to the black layer and select that. And I see some weird overlapping here with the letter box with the brown. So we go to brown and we just erase manually. Next we see some weird interaction with the white layers and the black. So let's go to white and select this layer, and then we're going to go to black and erase here inside of the black. And since the white, I hope you can see that on camera. The white is peeking into the brown. So let's select brown now and go to white and erase. And then we have the white peeking into yellow, which we don't want. So let's select white again. Go to yellow and erase that I'm just not super happy. Let's undo that. I'm just not super happy with the shape of the latter. I think I want to erase the corners. I don't like those weird blobby corners. So let's get rid of them and make them a little bit more pointy. So again, select white. Go to yellow and erase everything in the yellow. Awesome. Yes, here we have the white overlapping with the brown. Let's select brown. Go to white and erase. It's a bit confusing, but just bear with me. Follow the process. It's going to work out in the end. Let's move on to the trees and the girl. So let's go to yellow. First, select it, and then go to the green layer and erase. And we can't select we can't erase this tiny little nip because it's peeking into the brown hair. So let's go to brown, select brown. Go back to green. And then we can erase the final bit here. Okay. I see we have some empty spaces here in the white pompom. And I want to fix that. All right. And now we see, obviously, the yellow hat peeks into the pompom, and that needs to go as well. So let's select white. Go to yellow and erase. Okay. I think I saw some yellow peeking into brown, which would cause a weird interaction, even though we don't see that right now. So let's get rid of those background colors, and now we can see it much better. The yellow is peeking into the hair, and we don't want that either. So let's select the hair. Go to yellow, and then I just erase here. And here I see some weird overlapping, but I don't like this blob at the end of the brown. So this pig tail, so I want to clean up the edge first. And then we can erase the part of the yellow that peeks into the hair. So select brown, go to yellow, and erase. And then I see the ear here still has some empty spaces. So let's go to the skin tone. Where else do we have weird overlaps? I need to fix the yellow, though. So let's go to the yellow layer and fix the edge here. And then I guess we can do the best by selecting the white scarf. Go to the skin tone layer and erase everything here. All right, do we have any other weird overlappings? Yes, here with the shoes and the pans. Let's go to black, select black, go to green and erase. So next, what we need to do is erase all the color shapes from the background shapes. We did that already with the green. But only in the sky to show you. So we also want to erase that within the turquoise. Select green. Let's go to the teal layer, and then just three finger scrub. And now we see the green has the right tone and is not interfering, interacting anymore with the teal color. Next layer is red. Red peaks, both in pink and both in teal, so we select it. First, we go to the pink layer and erase then we go to the red layer, select it again and go to teal and erase. Tara now we have the real red showing. Let's go to the white layer, which is really important. So white, select and go to pink. Erase white. Select and go to teal and erase, tata Yellow. Select yellow. Go to pink. Erase, Tara. Yellow again. Select. Go to turquoise. Tara. We're almost there, and the colors come together super nicely. Great. Okay, we need next one. Is the skin tone, select. Go to pink. Erase. Select skin tone again. Go to tear and erase. Lastly, I guess. We have brown. Select. Go to pink. Erase. Go chill. Brown again, select. Go to teal, erase. And lastly, I think it's black, right? Black. Select. Go to pink. Erase. Black, select. Go to teal. Erase. Now we don't have any overlappings anymore, and that's so cute. It's amazing. In our next step, we want to replicate this typical mid century printing look by shifting the layers around. Mostly, they've used the screen printing technique, which meant that you were preparing one screen with a certain shape set the same way we have it here. And then they would put this screen onto a paper, print it onto the paper. Then away goes the screen. Color dries, then the next screen on top and the next paint and the next printing and so on and so on. And because you couldn't, like, really, 100%, make sure that the shapes like really are 100% in the right position, you would have those white areas in between. And I really like that look. So we can replicate that by shifting layers around. So let's start with our turquoise layer here. I'm just gonna tap the move tool. I have snapping disabled, and now I'm just moving it like tiny, tiny, little bit, just a tiny bit to see some outlines here. And there's two things happening. First of all, we see the shapes way better because of the white outline we've just created. And second, the colors interact with one another, which creates even another kind of set of outline. And the blend mode really makes it nicely and realistic looking. So we can move on by just shifting each layer a little bit. Let's go with the green. Let's move the green layer a little bit. And I hope you can see that here. We have the darker outline here. And I just see there's this one little line I don't want to. Yes. So we have the darker where the green interacts with the pink, and we have the white where we have the empty space from underneath. So that's really cool. I like that a lot. Okay, let's move on layer by layer. With the white layer, I'm not sure yet if we will keep it. I want to turn it off for now because we basically have all the shapes already in the background because with the negative space, we created by erasing. So I'm going to turn off the visibility of the white layer for now. I still have to decide if we're going to need that later on. So now let's move on to the yellow and move the yellow a little bit. Like this, maybe, then the skin tone, and the brown maybe the shoes look good, but I want to move this around, so I'm just going to select this part here of our black layer and move this a little bit to have a little bit of a white here in between. Just a tiny, tiny little bit. Great. That looks fantastic. I love that. What we didn't draw yet is the snowflakes, but that's going to come in our next step. We're going to move on and add all the cool lineworks and details and the juicy textures. So, I see you in the next video. 8. LineWork & Details: Alright. Now it's all about blending it all together, adding those nice details. So let's just do that right away. So what we still miss is all the linework. Let's go and start with that. We're going to go onto a new layer, and we have different options here. You can either use the MCM jolly pen for your linework, for some crisper lines, or you go with the MCM sketcher for some more textured lines. And I'm going to show you both of them. So let's get going with the MCM jolly pen first. And this time, I don't want to add black lines only, but both black and white lines. So let's say on this layer, we're going to go with white first. And we're missing the writing here on the letter box. So I wanted to say letters to Santa, and I'm just gonna roughly quirky, quickly, write it down. I'm not a letterer, so don't expect me to do a perfect job here. I think it's almost too thick. Let's go a little bit further down in size. Now I'm a size five person. I just wanted to look crooked and wonky on purpose. Brilliant. That's enough. And now I want to go back to the other size. And I want to give my wonky pine trees here a little bit of funky lines, some character. Alright. Maybe the wool in the head is getting some texture as well. Just some wavy lines here. And, of course, we're missing the snowflakes. So let's bump up the brush side a little bit. And then we're just gonna draw snowflakes here. I'm going to leave this area free because here we're going to add the text in a minute. Now I want to switch to the MCM sketcher and just give her some her coat, some texture, just some loopy lines, but that's a little bit too thick. So I notice a problem we have here with the red cheeks because we didn't erase them from the face. So we need to make some adjustments here. Let's go back to the red layer and move it back into the position it was initially. And the same with the face. And now I want to erase the cheeks out of the face by selecting the red. Go to the skin tone layer and just erase the cheeks. And then we can shift everything around again. So we have some white outlines here. Amazing. So we're missing the black line work, and we're going to do that on another layer. Maybe we're gonna add it below the white. So add another layer below white on top of the black colored layer and switch to black. And now we want to draw the stems of our trees, but not with the sketcher with the jolly pen. And we're gonna turn down the brush size back to 9%. And this one we can't see. Then we didn't add the ledge thing here. We can do that. Maybe the flap gets some lines here. And we need to mark the outline of our ladders. So Awesome. And her ladder leads here the triangle thing, as well. And we don't have her hand yet. Oh. Let's turn on the sketch to see where we want to draw her fingers like this. Beautiful. And her other hand is the thumb goes down. And all the other fingers bend away. Although the pointer finger usually is a little bit smaller than the middle finger, so I'm going to make that a little bit longer. And the pinky is, of course, the shortest. Let's see. I am afraid the thumb is a little bit too long. And turn off the sketch to see it. Yes, looks brilliant. Okay. We also need her coat. The buttons in her coat. So let's I see a problem here. Ha. The scarf is not erased from the coat, so we need to fix that, as well. So that means we need to bring the red layer back into its initial position. And then we select the white layer, go to red, and erase the scarf from the coat. Go back to white, turn it off, go to red, and move it away again. And now we see the yellow again. Now it's correct. Okay, back to our linework, go to the black layer. And then we draw here the closure of her coat. And then on her edge, she has something like this, maybe. Let's turn of the visibility of the sketch. Oh, her face. Of course, we need her face. So let's troll her eyes. Let's turn off the sketch and see what we got. Think I'm not happy with her mouth. So let's do the mouth again. Yes. And I guess I want her to have some. What does it look with some freckles in her cheeks? Oh, cute. Perfect. Alright, what else are we missing? The shoelaces. And some eyebrows. And maybe a little hair clip here. Oh. I love it. She looks really cute. And maybe some texture in her pom pom. Hmm. I think I want to add a little bit of texture onto the snow. S. Now, I'm going to switch to the MCM sketcher and draw some lines with that. But I might I might draw that on a different layer that it doesn't pop as hard as it does right now. Then I can turn down the opacity a little bit. And some kind of shadow indication. We don't need much more. I guess that's already enough. I just don't like the curve of these ones, so let's erase them once more. And maybe some white ones, too, for a little bit of variation. But first, I want to turn down the opacity of this one a little bit, that's not too, you know, too obvious. A little bit more subtle and add another layer, switch to white. And then we're gonna do the same with white. That looks amazing. Okay. Let's see if we want to turn down the opacity, as well. No, I guess it can stay as it is. Okay, now we're still missing the text. So go to the wrench tool. Go to add and say Add Text. And then we write Jolly and then you mark it by just tapping, and you can tap either this a 01 saying or the two as here. This will open up the font studio, and here we can scroll through the library until we find the Jitterbug. All right. Done. That's tap done. Now I want to move this in position, and I want to rotate it a little bit and make it a little bit bigger. Let's just duplicate this layer. And on the bottom one, going to just tap the layer. We're going to mark the text and we write wishes. Then we move that into the right position like this. I think the word jolly can move a little bit to this side, and I think they rotated too much. And then the word jolly can move to this side a little bit. That the Y is in between the dot of the I and the H. That's nice. And now, since it's just rotated, it is we need to slant it because now the letters all lean to the side and that looks kind of weird. So I'm going to go to the move tool, and then I tap freeform, and then I just tap the middle center dot here and move it until I think they're kind of upright. Like this. That's better. And we see the layer is being rasterized for now. It's not a font layer anymore. That's okay. That doesn't matter. And let's go to wishes. And now it looks nice and quirky. I just think we don't have enough contrast for now between this layer and the background. So I want to duplicate both layers. Move this underneath. I'm going to swipe with two fingers to the side to turn on Alpha lock. And what that does is it fills only the pixels on this layer with a new color. So I'm going to pick my black I'm going to pick this layer with the Alpha lock and say fill layer. This is no longer white now, but black. We're going to do the same with the layer underneath, swipe it to the right with two fingers, or you just tap it and tap Alpha log. And then we say, fill layer with the black. And now we're going to move these two layers, just some tiny little inches to the side to create this kind of three D effect, which is a perfect outline. And that's so cool. I like it a lot. Alright. So, le work and details are done. In our last lesson, we're gonna add the nice juicy texture. So I will see you there. 9. Final Touches: Alright, now we're ready for our final step. And this is adding the juicy texture. So first of all, I want to add a tiny, tiny little tad of shading by the bottom layer, which seems to be a little bit too dark for my taste. So I'm gonna tap this layer, and I am adding another layer on top and turn that into a clipping mask. Then I go back to turquoise and add yet another layer, which is also like a clipping mask right away. Now I change the blend mode from the bottom one to linear burn and the blend mode from the top one to screen. Screen is going to make every color a little bit lighter and linear burn, we've noticed that already, is going to make it a little bit darker. On the darker layer, I want to go back to the turquoise and pick my wonderful shader grain brush and just make the snow a tiny bit darker, just a tiny bit here. Mm hm. And then we can play with the opacity and turn it down a little bit, just to have some subtle, subtle texture. And here on the bottom, I'm going to make it a little bit lighter, like this. And also here again, we can turn down the opacity a little bit. Next, I want to shade the trees, just a tiny little bit. So I'm going to repeat the same process, add a layer, turn it into a clipping mask, and add another layer underneath. Turn one layer into a linear burn and one layer into screen blend mode. And then I pick the green shade and turn down the opacity again, and here a little bit of a lighter. I think that's the only shading I want to apply for now. The rest is going to happen with the texture we're gonna put on top of everything. In our next step, we go to the very top. If you have enough space, you don't need to delete anything. If you can't draw on too many layers because of the capacity of your iPad, it's good if you just delete the layers with a color rough and of course, obviously, the one with the grid here down there. I want to add another layer. Turn the blend mode to multiply this time. Now I want to add some dark spots stipples in the paper. The paper back then, we spoke about it already, wasn't that nicely bleached and bright white as it is nowadays. So they always had some tiny little fibers embedded into the paper. So we gonna we go to replicate that. Of course, this is way too obvious. So let's turn down the opacity to just have some, you know, some darker speckles in the paper. And on another layer on top, we're going to do the same just with white. We can leave the blend mode as it is, and just add some white spots in here. And also, again, we can turn down the opacity. Okay. Add another layer. We're getting there. And this time, we want to turn the blend mode to, let's see, linear burn again. We pick our beige color, and now we're going to add the final texture noise. Which creates a super cool effect. It makes the paper, the canvas look old right away. Of course, this is way too obvious. So we turn down the opacity until it blends nicely into each other. And then we can see we have some texture spread everywhere. And this really looks like old aged paper. So let's add another layer on top. Turn the blend M to screen, maybe, and pick the white, and now we're going to do the same with just some white. Of course, that's too much. So let's play with the opacity until we like the outcome. Oh, wow. So let's check. I am at 27% with a white noise layer, and I'm at 41% with the darker noise layer, and you play. You play until you really like now I'm at 33, and I really like this noise. It creates this vintage effect. It looks like the paper, and the printed ink on top has aged over time and reacted differently with the paper underneath. I'm really happy with the outcome right now. And I just wanted to call this done, but I noticed we don't have our movement lines, so let's add them before we wrap up the class. So let's go back to the layer with our black linework, switch to black and pick the dashes brush. That's really important and cannot be missed in any Mid-Century illustration. We want to indicate the ladder is kind of flapping in the wind. So we're going to draw some movement lines here, as well as to the scarf and maybe also here. Great. Now we can really call it done. And there we have it. Our finished piece. I really hope you enjoyed creating this illustration as much as I did. You can now save your artwork by tapping the wrench tool, tapping Share, and save it either as JPEG or PNG. And then you can turn it into a holiday card for your friends and family or even upload it to a print-on-demand platform. It's also a lovely piece to include in your portfolio. So let's head over now to the next video and take a quick look back at what we've learned in this class. I will see you there. 10. Recap: Congratulations on making it to the end of this class and for creating your very own Mid-Century style greeting card. In this class, you worked through your illustration process in a professional way from the first sketch to the final artwork. You've learned about the printing techniques from the Mid-Century era and how to replicate them in Procreate. Now you have a gorgeous piece in your hands, ready to send to your loved ones or upload to your print-on-demand portfolio. But before you do that, please don't leave us out. Post your project in the project gallery. This way, we can admire your art and cheer each other on. And in case you're sharing your art on social media, please always tag me so I will be able to see your art and give it a little shout out in my stories. If you've enjoyed this class, please consider leaving a review in the review tab. It really helps support my work. And if you're Mid-Century style lover just like me, make sure to check out my other classes and hit that follow button so you don't miss the next one, as I have a whole serious plan. Thank you so much for taking my class. I can't wait to see your jolly artworks in the project galleries. See you in my next one. Bye.