Pastel Succulents in Procreate

1. Intro to Succulents Class: Hi, my name is Jennifer Nichols and today I am keeping class short and sweet. I'm going to show you how to draw one succulent in procreate. It's going to have a past. Oh look, it's going to look just like this. And with that and all the photo references that I provide, they are free use photos. You can take those and the skills you learn from this class and do all sorts of different succulents. I've also taken in my succulents and turn them into a seamless repeat pattern. If that's something that interests you, I have classes on repeat patterns and on spin flower. So just getting things uploaded and things like that. So make sure you check those out. And otherwise, succulents are so popular right now there are stationary and all sorts of things. And I'm really excited to see what you guys do. I provided some watercolor brushes as well. Although I'm not showing you exactly how I would do my watercolor succulents. But I am coming up with a cactus class and we'll be doing a little bit of watercolor in that class. So, play around with the canvases I provide. And those watercolor brushes as well as the Carmel brush. That's a slight variation on a, another brush I'll tell you about in class and provide the palettes and everything. Everything you need is free downloads. So be sure to get all of your down lives and join me in class. You'll need procreate on an iPad. And I use an Apple Pencil because I love it. And I hope I see you in class. Let's get started. 2. Downloads: All right, I want to show you how to download the projects and resources. So you go to class and you make sure you're on the projects and resources tab. You need to make sure you're in the browser in landscape mode, not portrait mode, and not in the app. And then we'll scroll down and you'll be able to see, oops, that's new, that sweet treats link here. But then if these images, and unfortunately I couldn't move these up the list, but their swatches or pallets are down here. And there's going to be more photos down here. But here's most of the photos, a brush set, so the new brushes and then to Canvas textures that I talked about. And depending on your browser, you just tap on one of these. It'll give you an option to download. Some of them will open right away that I think the, the images just open a new tab and the canvases will download and then open and procreate. Let me show you really quick. If you're in a stack, you will have to find your canvas up in the very first spot of your gallery. And then for your pallets or your swatches, you will find them. If you go to pallets, you will find them at the very bottom of the list. For your brushes. You go to your library and you scroll all the way up and you'll see them at the top of your list. 3. Canvas and Brushes: We're gonna go ahead and start with a canvas. Tap the plus sign. And the plus sign again, I like to go to inches and do about ten by ten or 12 by 12. I always do 300 dpi for this iPad that gives me 55 layers. That'll be different depending on what iPad you have. If you, you only need a few layers for this. So don't worry about that too much. And then you can tap here if you wanted a title that as far as color profile goes, I have been thinking about switching into this, this very first SRGB as my default, because it seems like it's most compatible with other things. This display P3 is a newer fancier. I don't know how to technical way to explain it. But you know, when I kind of shared between apps, I don't get great results with this profile. So I've been thinking about switching to this one as my default profile. And if you're just going to post it online, you're not worried about printing and you're not happened between different apps. Like I do some work in Affinity Designer when I do my seamless repeat patterns, then it doesn't matter. You can go ahead and do P3. I do a lot in P3 as well. So pick your profile. Cmyk is kind of more for printing but not for everything. For example, spoon flower likes as RGB and then tap create. You can go ahead and pop over to my beginner class if you want to learn more about that part. Once you have your canvas, you have that in your list. So it'll be down here in your list. You can drag it around, you can rename it. Alright. I always start with a few layers. I want to show you our brushes really quick. These watercolor brushes will work best with the canvases that are in the download section. So let me show you an example of that. So I have a twelv by 1210 by ten for you to play around with. So this one's a pretty watery when of course, if you go darker, so the color shows up a little bit more. And these three are similar. They're just kind of providing a different level of colour. This one tape or C you can, with pressure you can change it more. And then this one is more for detailing. This one's really great for some fun foliage. So those really that look the best on this watercolor canvas. So if you're gonna play around with those, I recommend downloading that one or both of those canvases. We are going to use these three brushes at the bottom. This gens IN quote, Carmel variation, is a procreate brush from their sweet treats. And the link to that is in the resources. So this sweet treats brushes has a kernel brush. I then changed that Carmel brush. And again, that one's going to be best on something like the canvas, the watercolor canvas. So the canvas texture I think is what I called it. It actually has that Canvas actually has a weaved, raw canvas texture instead of a bumpy watercolor paper look. It's just a different type. And we're not going to use that for this class. That I wanted to throw that in there. And I use monoline allot, we're mostly going to use 6B. Might my 6B is on a selected, it just goes to a wider setting, then the default 6B pencil, and it has a couple of other differences. And then wide pencil stroke is kind of a past stele brush. It is so fun to use and blend with the tap and hold to a select that brush for blending. Let's go to a bigger size. I'm on a lower opacity and you can see that kind of keeps the texture. Hopefully you can see there's still some texture in there when you're blending. So it doesn't just smoothed the whole thing out. Which has nice. Sometimes if you get too much in one spot like that, it just ends up being solid. And a nice soft crayon. I feel like I use that for a lot of things. It gets really big. If you've taken my delicious fruits class. And I use that for a lot. It's very versatile, so it's a CRAN because when it's smaller, it's a nice CRAN texture and I called it soft CRAN because it has a soft edge instead of a really abrupt edge lake like a cram might have. I don't like naming brushes, watercolor 123. There we go. And you'll see my cactus class. Chunky indented walls, streaky spotty well spotty, well, spotty, rough wall. So that's not my strong suit. I joke that people can be artistic without being creative and they feel like that defines me. But I liked the brush names to represent what the texture kind of looks like so that I can jump to the one that I want. Alright, so that's enough about brushes. And in the next video we'll get started. 4. Sketch: Alright, for reference photos, I gave you a whole bunch of freeze photos from either an splash or Pixabay. Let me find them up there right in front of my face. So those are some that I thought were interesting for class. You can search for all sorts of others if you don't like any of these. And the one we're going to do in class is this one right here. But a lot of these are also just really gorgeous. And I put in two color palettes, S1, And I have succulents too. So make sure you're getting all your downloads. So I have succulents. When in succulents two, these are more the blue greens and these are like pink and purple and green. So we're gonna go ahead and do this one right here. I usually view my reference photos this way. And another way I like to do it sometimes is to pop my photo in to procreate. And to do that, you can either go to the wrench tool and insert photo and select your photo from there. Or if you've already got this open like I do, if you're in the thumbnail view, you can drag and drop it over. You can't drag another one unless this one is unselected, de-selected, whatever. And then you can move that up and place it where you want it. And then you have your full screen. Sort of he's still have that up there. So just kind of figure out what you like to do. And I was going to show you how I draw from a reference photo. So one of the things that I do, I'm going to first turn my canvas background pretty dark. And when I'm using a reference photo over here, I usually just pick my 6B and a light color. If I'm on a dark background, I choose a light color. And I go to pretty high layer, and I pick which one they wanted to do. So I'm gonna do this one right here maybe. And then I'll just kind of go back and forth and I'm looking at him, looking at him looking because my background so dark, I'm gonna go ahead and change my preferences here and change it to the light interface so you can see it better. So I am going to go to a fairly small brush size so I can kind of decrease the opacity later and it won't be too chunky. So I can, I can sit here and I can try to figure out where each of these little petals are. And spent a whole bunch of time. Trying to make sure I get every single little pedal line here. Or since you're using or freeze photo, you can well, I'll just leave that there for now. You can use the photo and trace it. So I went into if you've listened to my classes before, you've heard me say this before. There's nothing wrong with Tracy. And as you're learning how to do things, even, even once you know a lot about procreate and about drawing. If you're using free use photos. And your photos are ones that are okay to be tracing. And it, even if you just do like a rough outline tracing of it, you can do that and then have fun with the process of getting this succulent drawn onto procreate, instead of getting frustrated potentially with trying to look back and forth and become as perfect artist and getting every detail of this over onto your screen. So I know there's controversy about tracing and you just need to be careful that you're using photos that are appropriate and legal. Tracing and just have fun. It's all about fun. So I decrease the opacity. I met about 59%. Tap on that end, not pops up and I'm on a layer above it. And among my 6B pencil. And I'm just going to get a nice rough sketch. I already chose a different one than I had before. And this isn't too rough actually. But I'm also not following every single little detail. I see 100th. They're usually start with the center, but this time it started with the outside. Alright, so now these center ones. So if you look at disk leaf right here, you can see an underside, Canada's curling up. And we'll just need to pay attention to that when we're adding our color. Same with this one. So this one, I'm going to draw the whole leaf-like back and back and the front. And then there's a couple of little teeny tiny leaves in there. I imagine if this succulent were squished up in there, there would probably be another leaf or two. Let's go ahead and turn that off and see if we like it this way. I think that's nice. It's not perfectly round. It's got kind of more petals down here and up here. So that'll be a nice way to draw that. And I'm on uniform and I'm just going to make that a little bit smaller. So if you want, you can go ahead and do another one. Maybe you want to get a side view or this, that's not a side view, it's kind of a different angle, but it's a baby when, so it's a little bit more compact. Now's a good time to do that. We're not doing that in class, we're just gonna do this one. Since I increased my picture, it has cropped it. So I am going to delete that picture. And I'll just go down and drag this back in. Because I want that one right there. If you're not familiar with all the finger gestures, I have a beginner class that talks about all of that. So if I want to go ahead and do two at the same time, then I'm gonna go ahead and trace this one in just the same way that we did before. And I'll show you right here. That's how I did that. And just did both of them all at the same time. So the base layer has both of them on it. And then I used clipping masks above it. So we're going to do that but only with when for the sake of time. So go ahead and delete that. I have my sketch layer up here. I'm going to make sure it's in the position I want it to be in. And I'm going to lock that layer. Well, not yet. I need to turn the opacity down. I would turn it down a lot if I weren't doing a video right now, but I want to make sure you're still able to see it, so I'm not turning it down too far. And then I like to lock the layer so I don't accidentally do some of my art on that layer because we're going to delete that layer in the end. Alright, so now we're ready to start adding color. 5. Base Color: I'm actually going to stay amazing. 6pi, i like texture a lot. I'm going to pop up my photo here. Let's see a trace did this one. So I'll just kinda zoom in on that. I love texture. These are sort of my blue greens that I've got in the photo. So I'm going to choose this middle green as my base color. And then I'm gonna add some darks and I'm going to add some lights. And we're going to get it to a point where it looks a lot like this. You could start really dark and just add lighter and lighter and lighter. And you could start with light and add the darks. All of that's going to give you a slightly different look than the way we're doing it now. So this is how I tend to do it. I kinda start with a middle color in whatever picture I'm looking at when I do the base color, it can start with the middle. So I just picked this green right here. And I'm on my 6B, I would do this pencil stroke and we will switch to that for coloring in because it can go look a lot larger, but my 6B has a nice crisp edge to it. So I went my edges to be still textured but kind of clean at the same time. So I'm gonna go to my second layer from the bottom because I always do that. I just like to have a spare layer down there. And I'm on my green, I'm going to bump up in size. You can get it here so I can still see my reference photo. And I am just going to go around the whole, entire thing. And you can see that nice texture. This pencil, when you go to a point and come back it kind of squares that off. But if you start at the pointy part, you get a nice tip on there. I am not going to drag and drop color because when you do that, it doesn't drag the, it doesn't drop the texture. I kinda wish that would be really cool. If you did drag and drop and whatever brush with selected it would drop that texture onto the canvas. That would be great. It his procreates listening. Alright, now I'm gonna color in and I'm gonna color in where I'm kind of close to the edges on some of these with my 6B still. And then once I am not super close to the edge, I'll switch over to my wide pencil. And that'll be easier to fill in the rest. So I'll just zoom out here and fast-forward. Get a basically a thicker area here so that my wide pencil doesn't extend past this outer edge. You're going to be surprised at how easy the succulents are. My final one ended up looking more realistic than I was intending. I still love it, but I was really just kind of rushing on it, hoping to get somewhat of a loose look and it's zoomed out and it was like, oh, it looks just like the picture. But if you zoom in it doesn't. So that's kinda cool. Alright, and switch to my wide console. And now I can fill in and I have a bit of a fuzzy edge on this, so I don't wanna get, I don't want it to go outside of the nice, clean edge we made. Which is why I'm now, oops, I just went outside of that over there. So that's why I made the thicker edge with the six B going around. So I can just kind of plop this on now, still get my texture. Not spend a million hours coloring in by hand. And when you have the base layer and I use copy masks. So when you have a base layer that has texture on it and then you use Clippy masks. Your texture is going to be forced to stay there. So you can't do a clipping mask on top of these speckles and have it fill in with color. Those speckles will always be there as long as you're using a clipping mask. There we go. I need to put a little spot up here that says that's top. Because I keep turning it around. And then it's not mentioned at my reference photo. Right here we go. So clipping mask number when. Now the shortcut for clipping masks is to go back down. And B, because you are adding a layer between that clipping mask and the base layer that it's clipped to, it's going to turn any new layers into Clippy masks automatically. So I'm just going to add four for now. But I'm going to the very first one at the bottom, right above my green here for my first layer of color. And that will be next. 6. Darks: So for the first layer of color, I am going to start with darks. So I'm kind of looking at where the darkest darks are. Don't be afraid of really dark colors. Let's choose this almost black. It's like a super dark teal seat. This is black. Nope, that's a super dark blue. That works too. I'm probably going to stay on my wide pencil for a while at this point and just play around with size. So I can still see my outline. And I'm looking over here and I'm seeing, well, this is almost black over here, hidden here. And this pedal isn't. So i want to get now I can't go off the edge, right? Because it's a clipping mask. It's only going to show up on top of this green. And I'm just gonna go around and kind of blob on some dark, the darkest darks. Let's go for the darkest darks. This whole petal is pretty dark. So I'm blogging on because I'm going to come back and blend. This is really dark here. It's pretty dark right in here. Not too dark. This whole pedal isn't dark text way down in there. This pedal is pretty dark on the outer edge here. This paddle is pretty dark down at the base. Not as dark as these. And then it's got some dark up here too. So I am just talking through what I'm doing here. I'm not doing my dark greens right now. And just going around on his outer petals. Preliminary came down in size and I'm going to get some of the darks through in here. So this panel right here, snakes and darkness center. Sometimes I wish I could show you guys what's going on in my house and outside my house. In my recording. I just had to stop because to UPS trucks were parked outside my house one phase in at my Hill. When facing down my hill, both of them stopped and chatted with each other and I'm sitting here waiting for the engine to go away. The engine sounds. All of my three kids are in online school and my neighbor across the street, her kid is an online school in all the boxes of supplies are being delivered. So I have a feeling we ended up with two UPS tricks here the same time because of that. So I'm just looking here at where the darks are. I end up coming back later to do the Turks that are inside here. It gets a little bit messy and confusing for me because there's so many teeny tiny areas in here. So just do the best you can. Nobody's gonna look that closely. Terrible. Okay. Now these petals don't really have a lot of dark on them. I'm going to add a little bit at ARC, but not much, just kinda where they are underneath another leaf. Alright. So those were our darkest darks. Now I'm gonna tap and hold the smudge tool. And I'm now on the white pencil stroke for this match tool. And I'm gonna go to a pretty big size. And I met about 77% for the opacity. And that just kind of makes it blend a little bit more smoothly. And this can go through and smear this around a little bit. Although as I'm doing this and thinking, I don't think I want to do this too much yet. I'm going to add more colors first. So I'm gonna stop. And I'm just going to come back to this. If you look here, you can see there's some purples. We'll get that purple right there. So when you see the palate kinda go, Oh, why is there purple. I don't see that color purple in here, but there is a little bit. So we'll come back to those types of light colors. But let's try this blue here and add some more blues on this same layer. I really like adding like three colors. Before I smudge too much. So I am on this pedal, nobleman, that pedal right there. And now I'm on this panel and I'm just kinda looking at where I have some blue knowing that I'm going to be smudging this around a little bit. I'm not being very precise with this. We will have some blue on this Lynn. If you end up covering too much green, you can always add more green to the top. So I'm just kinda of belongingness on. Can you see how I'm just kinda blab beingness on? And there's no purples in here. Right? Just looking at my colors with other colors. Can I choose this super-duper, dark blue, which is almost black. And it gets some of that really dark in their disciplines, really dark. I'm forgetting about the edges, the highlighted edges. We're going to add that later. So I'm not worried about covering up my edges. Do I have any more darks? Not this super-duper dark. So I might pop over to now, I'm just gonna leave that layer alone. I'm gonna go ahead and start smudging. And I can always come back to add some more to this layer. So when I'm smudging, I'm going to zoom in on this. And I'm smudging. I'm kind of going in the direction, the pedal, like the center line of the pedal. And I'm barely touching, but I keep my preferences. I keep my edit pressure curve here, this curve, because I don't like to press very hard. So if you're finding you have to press hard to get this to smudge, look how easily this matches and barely tapping. So if you're finding you have to press hard, you can adjust your pressure curve. It does affect all of your brushes. When you do that. It affects the pencil use itself. Not just this brush. And surprisingly, you really don't need to be super careful with this part. So I know it just looks just like a mess right now. But you'll just need to hang in there with me and I'll show you how it all comes together. Mechanism edge too much here. Just kinda went to blend it a little, but not really move it too much. Right? Next lesson, we'll come back for a nother layer. I just noticed I want to add a little more dark on this one here. 7. Mid-tones : Alright, we're gonna move up to the next clipping mask in a minister looking at lighter colors. And I'm really just pin of working my way lighter and lighter. There's some teal in here, this tail right here. And if you want to switch to the soft CRAN, the soft CRAN will give this sort of specially look. So if you look here, instead of having a solid color there, but I think I'm going to go to a darker teal, sometimes sliding this little darker. And you go back to wide pencil. And I'm gonna get some dark teal on there, some going out of our color palette that was provided. I'm on a new layer and the only reason I'm on a new layer now is because I just want this smudging to be a little bit isolated from the other colours that we already added. So once I get those other colors approximately where I want to put them, I don't want to mess those up by blending them even more. So this way I can add more colors, blend those colors, and they won't mess with the colors that are underneath. So that's kinda nice thing as well. There's not a lot of teal in here and just kind of looking back and forth. And I missed some dark purples on the layer below. So I'm gonna go back down and go down to just add some dark here. Maybe blend that bit. Then come back up to the layer we're currently working on. This light green in this sort of cream color are kind of our final to highlight colors. So if you look at these edges, kinda that green color, the light green in here. And then there's some little spots of reflection here that you can do this super light color on. So now I'm just kind of alternating between some of these lighter colors, but not these super duper light colors. So I'm gonna go to the purple mist still on my wide pencil and get a little bit more of the light purple in this little street here. And I am stain in my outlined areas. So we drew our little sketch. And I'm not being super careful about all these little areas where all the things meet. But I am trying somewhat to stay in those lines. As I add color to each leaf. Discipline is super dark. This one's got a job and color on the tip. I'm going to come in and work on some of these similar IC, some darker greens. This is quite a grass green and that one is more for the center here, some of the darker Center areas. This one's a little bit more forest green. And I'm just going to add a little bit of this here in there. Looking over here and blending. Great. Except we will continue with another layer. 8. Lights: Alright, we're gonna go to another clipping mask and we're going to start using some lighter colors. I'm not done though with some of these pale tails here. But let's start adding some of the light green. Now for the light greens, they're mostly along the edges, these outer edges. So we're going to, first, we're not worrying about the pretty sharp colors. We're kind of still blending here. So this is where I'm going to be a little bit more particular about not going over the edge into there. And this is going to start defining our pedals more. So you can see that here. If I do some light green and then it looks like I need the sum of the rain here. Just going to show you an example here, gets some when peddle them here. Maybe even some of this very, very pale, this, that pale green and not go into that cream color yet. And then for blending and came down inside sin m on 25%. And I'm gonna pull this wake. They really want to define that edge. And right now my outline is still on. And I don't want that to mess with my brain and make me think that that edge is defined. So if you can turn that outline Lear almost invisible, that will help you a lot. Since we're on a new layer. If you pull too much light color down, you can just push it right back up. It's not going to mess with the colors underneath. We are on a totally separate layer. So now I'm going to go around and work on each one of my petals. I still have a lot of work to do in here, but the highlight is really going to make a big difference here. And remember, we're not going for perfection. So don't worry if it doesn't have these credit little edges of the aged succulent here. We're just look, we're just coloring. So unless like pastels on paper here. So I'm going to unlock my outline layer and then turn it way down. So if you're still watching it and you can't see my outline layer, it is because it's so low. But I want to make sure you still see your outline layer. So now I've locked that layer and so I don't accidentally draw on it again. And I'm back on my light green here. And I'm just gonna go around and add some light green where I see it. And, uh, fast-forward this part. So that's where I see some late green. I am also seen some of this super light blue here can have late, late teal and maybe even this light gray. So I'm gonna be switching between these two now and finishing up my highlighted edges here. So I'm pulling down the leaf and I'm trying to let some of the colors stay concentrated at belong those highlighted edges here. This'll be a better example. So I'm putting my pencil sort of in the middle and pulling down. If I put my pencil up here, I would pull the color right. If I would pull this empty color, like no color down onto the canvas here. So I want to make sure that I put my pencil on the color that I'm trying to spread around. And now if you look in really closely right here where this pedal meets this pedal and when to push this. So it's not on that pedal. So probably could have done that with a smaller brush, but when we zoom out, it should be OK or not. Seems kinda you can erase or you can just kind of push that around so that there's little intersections are a little bit more smooth. So I am smearing this lake color in to the pedal, but I am also leaving a bunch up around the edges. And again, I need to push this or erase that when I pushed up because I needed to fill in and cover up that green base color is exposed there on the edge. And they haven't really been referring back too much. Cuz I'm not going for photorealism since, okay. If it's not just like the photo of the, they're already starting to really see this coming through. And in the next video we're going to focus more on the center. 9. Highlights: Alright, let's get some highlights on the center so that our center can really start to pop. So I know I already did highlights on this layer and say Mr. blend spot here. But I also am going to add yet another highlight layer just because I don't want to mess with what I've already got. So I'm going to another clipping mask and start looking at my colors here. And I'm looking at the edges right now. I'm liking the color amman, which is this one right here. And I'm gonna go between this cream and that one. I see some of the cream in here. They go down in size, submit about 10% or so, and start getting some more highlights on here and really defining those edges. I'm having a light touch this time. I'm not, I'm not planning to do to too much blending with this one, with this layer. Alright, I'm looking at this pedal here, my sketch, if that looks a little bit different, I'm gonna try to get it to look similar to that. Basically I need to add step back section right here, which is pretty light. I have this section here that I've been treating as part of this petal. So I'm gonna go ahead and extend my lighter colors over to fill in that green. And I'm going to erase. So I'm erasing this part right here. Right here. Let me racing the lighter part of that section. Alright, so that's pretty close. Now I have this later part of the pedal rate here. And that might be a good spot to add, maybe the soft crayon brash. But I am just going to get here with this pastel or this wide pencil brush that I like to use as a bit of a pastel. And that curves around the swing curves around edges here. So this is where we didn't spend a lot of time with our darks. And now I'm spending more time kind of paying attention to where the lights are, kind of blob down the darks. Some getting this little triangle in here, couple little inner spots in there. Let's switch to the cream color here. So as you can see, I am building a building and building and it's coming together. And I still need to blend this current layer. Seminary came through in decent smudging and try to keep some of the highlight areas where a one, some concentrated color without any blending. And I'm just going to keep adding. So when I'm all done, I come back and I add more dark on top because I can now see more easily where the super dark areas need to be on a lot of these petals. And so I'm going to come back for more in a bit after I do a little bit more blending, and I'll show you how I finish this off. 10. Final Touches: All right, we are on the final touches. So when you're thinking about final touches, where we're going to be maybe adding another layer, but also kind of going through and doing some touch ups on the other layers. So if we go ahead and zoom in, if I zoom out on this, I like it, but I feel like there's some areas that are just kind of block. So I'm just going to spend some time kind of splitting this up a little bit. I want to get some more drama. I guess I wanna get some more darks in here and maybe less of the light edges, even though not go in for photo realism. And I see dark purple over here that I totally missed, even some dark purple up here. So those are the things that I'm looking for. And then the other thing that I really want to focus on is how dark some of these areas are. If you really zoom in, it's almost black in a couple of these places. And that's really going to add a lot to our illustration. And you can just go below. So this is where I start to kind of toggle and figure out what layer this is. Layer this is, and the other details we're gonna go around looking at our smudging are little bits that we didn't pay a lot of attention to. I have purple here, so I need to go around and figure out what layer that purple is on sets here. And maybe I'll just use my 6B and erase that purple that's on this pedal instead of on that pedal. I want to smudge this dark color on this layer. I'm gonna smudge with my white pencil and just kind of get that dark into these areas that got missed. And then go around. Really zoom in here. And looking at all these little corners. O and I'm going to turn my outline off. We still have our outline layer off. I just noticed that right here. So I'm gonna turn that off when you're done with that now. And here I'm noticing could have a petal that we've neglected a bit over here especially. So I have this base green color right here that doesn't have any other colors on top of it. If I look over here, that pedal is this one right here. Looks like we missed a teeny-tiny pedal behind there, but we can just pretend that's not there. And I'm going to save this pedal, goes under this pedal. So I am going to just smear, but I could also erase so that this pedal extends down. And then I want to add some more color or just smear some of that color around. So this is the layer that has some of that teal on it. If I went to smear some of that teal over. So just go round and pay a little bit more attention. To some of your details. And again, we're not going for a lot of detail. Smearing around having nice smooth looks for a pastel luck. And now, now that I've gone around and I've paid close attention to the darks can have cutting into all the corners. You're gonna pay more attention than I just did. I'm just trying to zoom it up a little bit for the, speed it up a little bit for the class. And now I want to go away. This is kind of a hard line here. So I'm going to, I know I'm on that dark layers. I'm just going to kind of blend that dark little bit. So just go around and see any little areas that you want to fix up. Now I'm gonna look, we're going to look, I'm gonna get to a layer that's under some of our brighter areas. And I'm going to add a layer under these two light layers. And I'm gonna go really dark. I don't wanna go to solid black. Solid black just doesn't do good things. And I'm going to my 6B and a pretty big size because I'm trained to get a little detailed in here. So you remember earlier I didn't spend a lot of time in here. And that shows when you zoom out it just fine. But I'm gonna come back to this here. We're gonna get some really dark, dark. So I'm looking at my dark. And this is going to really define the petals here a bit more. So I am still going around looking at some dark areas. Just adding a little more dark. This, we'll just add a nice bit of depth and drama. So it'll just cannot help it pop a little bit. And I'm going to keep going around and kinda look around the underside of these petals. Underside here. Go into white pencil to a pretty big size. And before I do it, nice. Mirroring on this, I'm going to come around and look at some darker areas on some of these leaves. Going into this forest green. I'm underneath this late green, so I'm gonna go up at least to that light green layer. So my dark dream can show up. Right, and still have a lot of blending todo, but I am going to keep going. I went a dark purple right now. And when this dark color here. So I'm gonna go ahead and went to this purple, this purple right here. And I'm gonna drag it down towards black. Little bit darker. Give some dark on this one. Right? And I'm going to add another layer because I don't want to go on this layer that has the super bright color on it. But I do want to add some very light speckles. I'm going to add some teal and sunlight are speckles and money go to soft CRAN to about 15%. And if you look here, and here, this is what I'm gonna do. These light areas in the middle, right here. Maybe some teal underneath, darker teal underneath and light on top. Here is a light area right here. It makes a big difference when you spend a little time doing these little details. In this soft cram is nice. For just given a nice texture. Looks like I want some dark purple on that. And I go back down to that dark purple color. And back to the light teal. For here. Somebody here. I think this adding this kind of makes it a little bit of that Matt look kind of a frosty feel. I want to make sure I keep my dark petals pretty dark so I'm not going to add too much there. Alright, so now I just want to come back and do a little bit of blending on those layers that I just added color to. And then we're going to call that done. So I'm going to blend with my wide pencil stroke, figuring out what layers I need to be on. So this has my dark purple and my dark greens that I added. And I don't want to blend too much. Let's make this small again, sorry about that. That has realized that. So if you look here at my dark green and just smearing a little bit. This dark green, I think. Nope, it is on that layer. So I'm just gonna put, no puts on this layer below it. I'm going to pull up some of my hard lines of that really dark green that we added dishonor. Smudge those a little bit. So for example, right here, I'm just gonna pull up a little and leaving a lot of the dark right where it is. Go back up to my purples with the greens. I'm kinda like in the purples without smudging empty match. So I'm not focusing too much on this. And mostly just making sure that there isn't a hard line. And let's see. I'm not gonna smudge the really light super light colors that we just added with the soft CRAN, because that's the texture I want them to keep. Mc and on this pedal that was a little bit neglected that I probably want to get a light edge in there. So I'm gonna go to the six b m on my late color. And I'll go to that top outline layer into skill. A bit of a light edge here. Define the edge of that pedal a little bit more. And there we go. So obviously I can't spend too much time going around and fussing. I wanted to show you one thing really quick. If you don't like the shape of something, you can go back down to the base layer that we originally did, that all of these are clip two and change their shape there. So if you go to the 6B and down to that bottom layer, say so I don't like how point a, this is going curled off to the side. I'm gonna just erase part of that base layer, then all those layers above it, just our hidden in that spot now, because there could be Masks. And if I change my mind and I went to add that back, then all of the shading and everything we did on those other layers will come back as well. And then let's play around with the background color. Looks great with a lot of different backgrounds. I probably wouldn't choose a pale green. And finally, I want to show you one more thing we can do with hue saturation and brightness. 11. Playing with Color!: So I'm going to group everything together and duplicate the group. I have enough layers to do that. If you don't, you might want to duplicate your whole file and keep an original set aside. And now I'm gonna flatten that group. So turn the original off. And now I just have this when I see them. As secular does also called a CD-ROM. So sorry, I just swapped what I've been saying this whole time. And now with this one, I can play around, I can change the size and I'm not messing with the original. And the other thing I can play with is hue saturation and brightness. So if you go to the magic wand, go to hue saturation and brightness. Let me go ahead and zoom in so you can really see what's going on here. If you've looked on line, you've seen a wide variety of colors. I've seen Adams. And it just so happens that playing around with this scale actually hits a lot of those pretty closely to some of their real and c Adams in secular ones out there. So you can play around with this and then either make it more pale or brighter or lighter or darker. And then if you end up messing around and not liking, just tap on the screen and tap reset, start over. So that's a little bit more teal and blue and purple. And then you can duplicate, change the size, Rotate, Flip. Alright, so fair is how I do a pastel type PESTEL looking, see them. And there's some really fun things you can do out there with systems. You can do a seamless repeat pattern. I'll show you mine. And then I played with hue saturation and brightness with this two, I have a class on making seamless repeat patterns. So if you're interested in something like that, there is a class and then here's another one, and here's a couple more that I've done. I didn't finish though. And then I was just looking online. These are not free use photos, so they're not included for you. But I saved a couple of photos of a fun little look for see Adams. And if a border around the blank square that you can write, this has just a couple of ceded their succulents. You can do greeting cards and then make sure that you get all the photos. I am adding a few more for use photos. This I thought was really fun right here with a combination. They're really popular right now. There's even people on Etsy who will sell you something like this. A bunch of little starts. So I am adding some very colorful seed and pictures to the downloads. This I think is beautiful as well, would be really easy to do something like this, especially because the succulents aren't touching each other. Whereas this might be a little bit more challenging with demo overlapping. So to do something like this, you would just go to the layers underneath the, the succulent that you draw and add some dark spectrally dirt and colorful ring with some looks like these all have a little texture. And I am really looking forward to seeing what you guys do. Hopefully you try out some different looking see Dems and succulents and post them in the projects. I would love to see them. And anything you take and do something more elaborate with your illustrations. I think it would be super exciting to see. So enjoy.