Procreate - Learn 15 Easy Painting Techniques

1. Presentation: If you are looking to improve your painting skills in procreate and understand how to shade them, blend colors together. This is the course for you. Hi, my name is Marisa damages and I'm a professional illustrator based in London. My background is in traditional oil painting and drawing, as well as scientific illustration. I worked for the media and publishing industry for many years. And, and I want to share with you what I've learned so far. This course is designed for students who want to learn a variety of techniques and wish to get better at painting. With this goal in mind, we're going to explore 15 coloring and inking techniques will start from the most basic brushes, like the hard and soft brush. And you'll see that even when using this default brushes, the resulting painting can be really nice and eye-catching. Then we'll explore a quick and easy way to apply some texture using the flits brush, and this is excellent for adding surface details. We'll also use some more painted the brushes from the painting library, like the oil paint brush, if you like, a fast execution methods, all the variables as I, acrylic and the wash brush, if you prefer some traditional rendering. And talking about traditional effect, we're going to follow a very specific method in order to achieve a convincing watercolor effect. This is a technique that requires a lot of time and dedication that they can bring some very results. Then we'll dive into the pencil and charcoal brushes, which are probably my favorites, will explore the difference between the procreate pencil, definable chalk, and the carbon stake. Throughout the course, we're going to use a variety of thinking methods, from the nice and clean printing technique achieved with a calligraphy script to the rough outlines given by the ink plate and drying rushes. It may seem like a lot, but don't worry, we're going to learn these techniques step-by-step, keeping it simple and consistent. By the end of the course, you will be able to use all of these brushes, feel confidence, and develop your own style. So let's get started. 2. Procreate Basics: Okay, we can start by launching procreate. We can create a new document, pressing on the plus sign. And you can find some presets. Otherwise you can create your own Canvas. And we can create an HD size which is 1920 by 1080. So we click create. So that's the Layers palette. You can see there's a new layer and a background. You can change the colors of the background by selecting the background layer and then choose a color. But we're gonna keep it wide for the time being. We can create new layers by pressing the plus sign. To delete layers. You can swipe left and press delete. Say this is the brush library where you can choose from a variety of brushes. So for example, this is the hot air brush. So if you select this brushing and then paint, we can change the brush size by sliding up and down. And we can change the opacity of the brush using this slider here. And obviously if you reduce capacity, you have less amount paint on the canvas. If you want to change Corona, you press on this. And at the bottom of the color pallets you have few options. So that's the classic view where you can choose a color from light to dark, and you can change the u using this slider here. So for example, we can choose this purple color. Then there is another way of choosing the color using the, this, again, you can choose a color going from light to dark, and then you can spin around. Then there's color harmony in the color harmony panel. You have different schemes. Choose complimentary. So if we increase the brightness, we have more vibrant colors. So you can choose a color and paint. And you choose the compliment we by clicking on the other color. And then pains as well. Then we can choose split complementary, so you have three colors. Then there's analogous, which is really nice when we have three colors that we know that they go really well together. So for example, we can select this violet, this pink, and this fuchsia. And we can actually see these color set is actually a harmonious. And then there's a value panel. You can decrease the saturation or increase the celebration and do the same for the brightness. And then you can lie fluid. And lastly, there's a panel for the pallets. You can use the default ones or important new palette, right? So we can clear this layer. I'm going to choose a colour, can be one of the dark, violet. And isolate the hot air brush, which is the most basic brush. And I just pay it, strives to undo. You tap with two fingers on the iPad and to redo, you tap with three fingers. So it's undo and redo. Now, if you want to duplicate the layer, you swipe left and you press duplicate, and delay is duplicated. Now you can press the Move tool, which is the black arrow, and you can basically move what's inside the selected layer. Then if you want to protect your layer, you can decide to locate swipe left and you press law. So when you lock a layer and you try to hang on the layer or arrays or move or do anything on that layer, that wouldn't be possible because the blade is locked. We can delete this. Then. Obviously you can choose from a big variety of brushes. So you can choose these paint all change brash. And obviously every brushes. Specific effects. Like these web clients is very specific. Then we have this Matching Library or the blending library. And again, we have exactly the same brushes from the brush library. But if we paying with these brushes, we going to blend colors together. So for example, if I select wash, I'm going to match the colors, going to mix them, blend them. So for example, if I add one color here, can be this kind of car. And then I switch back to the punching tool, to the blending tool. I can mix them together. Almost straightforward, defy select the soft Russian pain with this column. Let me clear the lay and do it again. So we've got this color here. Then I can choose a different color like this, violet. I have this color. Then I switched to this matching tool. And I'm going to select soft brush. So we have soft brush for the painting and soft brush for the blending. And I'm going to blend in the middle where the colors may. Not always, but sometimes I duplicated the layer so the colors get more pay. And then if you want to merge the layers together, you can do, you can pinch them and they merge together, right? So that's this matching tool. So this is the eraser. Again, it's the same library but for erasing. So if we have this airbrushed selected, we can erase part of the painting. I can increase the brush size. I can make a line. Then if I hold down with the Apple pencil, the line gets straight. Then if I put the finger down, the line would be constrained and snapped to the horizontal plane or to the vertical plane. So again, I can make a simple line. Wait until the line gets tried. And then putting the finger down, it will snap. And you have something like this. Now, if we get rid of these, we can clear the layer. Ok, so let's have a look at something different now if I'm paying anything on the canvas. I can create a new layer. Then I click on the family and I select clipping mask. So the clipping mask is a layer that is created on top of an existing layer. And then you can see that this arrow is pointing down. So that means a is linked, so is connected to this layer. So if you paint on this clipping mask layer, the paint will be visible only in relation to the layer below. So if I unclick the mask, you can see the actual layer m. When I clip it back, it gets inside the layer below. And this is quite useful because if I now switch to the blending tool, I can smudge, I can blend this Calla without thinking about the perimeter so the color is not going to bleed outside. So have some practice with this because we're going to use this technique quite a lot farther cause I can merge the layer and the clipping mask layer together. Another thing that we can do is creating a mask. So now you can see a white layer on top of our layer and is linked to a mass gives the possibility to hide and show a part of the layer. So when you paint with black, you hide, and then you can switch to wind and you can reveal the layer. If I now switch to the soft brush and I adjust the brush size switch into play. Also, I can paint at the bottom of this gradient. And then I can get something like this. But the most important thing is now i'm not erasing so I can change my mind so it's not a destructive way of working. And then once again, when you happy with the result, you can merge the layers together. Let's have a look at something different now. If you have three layers, we can create three colours. 123, you can swipe, right? And you have a multiple selection. So you can select multiple layers by swiping, right? And you can see that the layers change color. So when you have a multiple selection, you can decide to move the layers together, or you can group them. M1 is grouped, you can rename it. And then when you open the group, you can reassemble the layers inside so you can move them around. And you can select one holding down, and then you move the layer. Then if we want to flatten them out, you can pinch them together, including the group. Or you can click on the File menu and select flatten. And this point, if you select the black arrow, you have a few options there. We're not going to use this option throughout the course, but basically, you can flip the layers horizontally, vertically. You can rotate the layers so you can transform them in different ways. Now we have a series of adjustments. In this course, we're going to use caution, Blab and hue saturation and brightness. So if I select Gaussian blur, I can swipe to the right and increase the level of blurriness. Otherwise there is another effect is called liquefy. Even if we are not going to use the liquefy effect in this course is quite useful for some quick amendments. There are a few options for this toolbar. If I use it, I normally use the Move option to slightly fixed stuff here in the. Now talking about the caution. Again, if I create a mask and then I am going to mask some areas of my painting. Then select caution black. And then I can blur my RY. But then if I select the mask, I can also blurred the mass. And this is quite useful and we're gonna go through these throughout the course. Another very important adjustment is hue saturation and brightness. We can change the color of the layer by cycling through the spectrum using this slider. Or we can decrease the saturation or increase it. And we can do the same for the brightness. Or you can slightly shift the colors using the color balance, but we're not going to use these in the course. Now talking about inking, we want to create a custom calligraphy script we're going to use throughout the course. First of all, we want to create a custom library. So you shift down a brush library, you press on the plus sign and then you can rename your library, for example, my brushes. Now if you select the calligraphy library, we can select script. We get inside the brush studio. The first thing you want to do is to reset the default brush settings. Then you can test your branch on the drawing part. You can increase the streamline value if you want. And it would be easy to make smoother lines by essentially the only thing that we want to do is to go down to properties and change the maximum size to be about five to 6%. Say phi switched to Black. We have something like this. You can see that this stripe tapers off at the beginning and at the end. So if I go back to the BRAF studio and I reset the settings, we will get something like this. So we want to reduce the maximum size. So when we paint with this brush, the thickness of the stroke won't be more than 5%. So it's going to be a thin line. Now when you happy with the settings, you can swipe left, you can duplicate the brush and you can move the brush inside the new library. Now you get inside the brush studio again, uh, you go at the bottom of the list and you select about this brush. If you share your eye, but you can sign up and buy the most important thing is to create a new reserved points. So you basically save the brush. So when you reset this brush is going to go back to these settings that you saving now. And we're going to use this brush cry a lot. So if you, for example, change the settings, the streamline, the thickness, the tilt, any options in the brush studio, you can go back to about this brush. And then you can reset the brush to your custom default settings. Right now we can clear this layer. I just want to show you a couple of additional things. So I can create two colors. Then if I want to select a color on the screen, I can hold down and I can sample this color. Or I can select this and then change color. So now the very last thing is to duplicate one artwork and copying one layer from one document to another. And to do this, we want to click on gallery. We can obviously rename the artwork. For example, my artwork. If I swipe left, we share and delayed if I duplicate, these are work and then I quickly change the color. Now, I want to copy this layer into the original our work. And we can do this in two ways. The first one is to select the layer, move the layer, all the layers in the middle of the composition without releasing, click on gallery. Select the other document, open up the Layers palette, and then drop the layer inside the Layers palette. And this is very useful when you have to copy more than one layer. And we're going to use this method during the holes. Otherwise, there is a classic way, three fingers down and you have cat, copy, copy and paste. You can simply copy this layer. Select the previous R-one, three fingers down, and then paste. And I think I covered the essential for this course. We're going to go through all the steps during the individual lessons. So you're going to get quite familiar with all of the process explained here. So this course is about painting. It's about coloring and inking. But I've included a time-lapse videos so I can show you how I made the pencil drawing. And you can download the drawing so you can practice painting directly on my illustrations and following along. So let's get started. 3. Timelapse Drawing: Even if this course is about painting, I just wanted to show you how I made the free hand drawing. And as you can see, I made this drawing on paper with a pencil. This is also to demonstrate that you can still use some traditional tools, even if you are a digital artist. If you interested in understanding how to make a drawing and to see which options you have. You could watch lesson 67 from my host pain like an old master with Photoshop and procreate. Otherwise you could also watch lessons 23 from Complete Guide to really seek oil painting. In those lessons, I explained how to make a drawing. So the whole drawing process took me about 3.5 hours. This faster fashion is about 15 minutes long. You can watch these or you can. Obviously, if you're not interested in drawing and I'm not going to talk. Again. I just wanted to include these steps. The whole package. 4. Soft Airbrush: If you like this kind of background papers, you can download a collection of five from my website for free. So if you go to my website which is married Sudan js.com, you can see my medical illustrations or my shop where you can buy some prints if you like, or even participate in a project called, I'm telling you what I send handmade postcard around the world based on customer request. So check it out if you like to downloading the town paper, you need to go to online teaching courses, then free download. And you can then now allowing this pipe background papers. And you can also see some examples here. Right? We're going to start from this plant here. So we can lock the drawing. Say when we locked the drawing, we found do anything on that layer. With a new layer, then I can choose a color. In this case, I want to start from the stems, so I want to choose a green color, something quite pair. For this drawing, we are going to use a very simple brush, the hot air brush. So if you want to reset the settings, you can reset it Settings here. So this is the most basic brush you can choose. We paint, we will get something like this. We want to reduce the brush size to be similar to the size of the stamp or even smaller. So I think it's fine. We can undo tapping with two fingers on the screen. Then we can place lay to underneath the drawing. And we can actually switch to multiply. You will get something like this. You can simply start painting from the Stam. I'm just simply coloring the Stam. Like if you want a coloring book. What I want to do now is to create a new layer. Change the colour towards violet, purple. And we're going to pay their petals of these flowers. I would create the outline first. I can amend on the way if I believe different share would work better. And then I can simply drag and drop the color. So sometimes you need to fix manually because a few pixel remain empty. So now I want to select the stem layer or create a new layer. Click on the film now and then clipping mask. Now you, if you sample the color from the stem and choose a different brush like the soft brush. We can go slightly darker. I just want to make it dark at the base of the roots and as well at the base of the flowers. So you want to do the same for the petals. You create a new layer and you create clipping mask. Now we sample the pink color as we want to do exactly the same as we did for the stamps. Just wanted to reduce the size a little bit. And you can see me there. I'm painting mostly outside of the shape, so just the edge of the brush would actually paint. Now, I want to go lies or Bryson. And once again, I create a new layer. I will clip you months kit. If you unclick the mask, that will be the result. So when new clipping mask, everything is inside delay, which is underneath. So I create this new layer, I switched to a brighter color. I want to add some highlights. Maybe I need to go lies how to be visible. So I just want to make this central part of these flowers and rise here. And again, I can do exactly the same. I create a new layer. I create a clipping mask. I switch to the green color and I go lies her. Now I want to reduce the size of the brush according to the subject that I'm painting. And I just want to touch up a little bit. Now I create a new layer between the petals. I can sample one of the dark halo and go darker. And again, I want to reinforce the side of the flour as well as some internal structure. As you can see, I'm not using a 100% capacity. I lower down your pattern P. So that means that my brush WACC is sort of semi-transparent. I do the same for the flower. I can do the same. I create a new layer in between the two colors. I would go dark. And once again, I just want to make the lining.com and I'll create a new layer. I switch to the calligraphy script. I want to switch to blank. So with the calligraphy script you will get something like this. What I want to do now is to make an outline of the flowers and the internal shapes. You can see that the end of the brush tapers off, which is good. So you want to do the same. And the last cloud. Now I create a new name for the stems. And quite family tried to recreate the outline of this dam. The Stam goes in front of the others, so I can go straight up to the flower. Now, I want to create some kind of a not really straight line, but something going on towards the roots and things like this. Something more illustrious if, if I hide the drawing, this can be an illustration style, quite simple after you much happening. So if you want to increase the level of details. We can add these additional lines that they braking. And these date dot some dynamism to the shape. We can have this line breaking up. And then this little lines towards the bottom of the plant. Now we create a new layer, we clipping mask. And with a soft brush, we can choose to go towards the brown color. So I'm on a new layers are not impacting the green building. And I'm just adding this brown color to simulate the fact that routes where inside the ground, I can go darker. And you can see it's very simple but very pleasant. So I can fix down. So I'm going to choose the relevant layer. And I can simply do this color that we're going to clean up. The hours, have paint Nice which do the hard brush. And I just simply arrays what outsides. So I'm going to clean up the drawing a bit. I can select the flowers layer. And again, I want to simply arrays. You can undo just tapping with two fingers on the screen of your high part. Now, I switch to black again. I want to create a new layer. Shoes the calligraphy script. Because I want to draw the roots. The roots you want to press fast and then release the pressure. So you can get a wider stroke at the beginning, a thin stroke towards the end. And we want to add some additional details. Is this sort of could be anything, it could be some small hair or for just practice and releases. So you get this tapered brass strike. You can add something in the middle of the stem. And some dots or some, some noise, something happening towards the base. We can add some small details like dots over a short lines. Really up to you. I mean, you, you can do down or you can skip the IAEA is according to your tastes. So now you can select one layer, swipe, right? You can select multiple layers. And at this point you can group them. So here you can rename these first drawing, S2 lips. And that's done. This is the first drawings. Now you can merge some layers together. So for example, I want to merge together as all the outline layers and I can rename them into Inc. I can merge the flowers together and I'm going to do the same for the Stam, rename the layers flowers. And at this point you can play with you and hydration. You can change the colors of the flowers or you can change the color of the stems. But for this demonstration, this can be enough so that the fast illustration is now done. 5. Hard Airbrush: Now the tulips are done. We're going to concentrate on this plant. I'm not too sure about the name of this plan, to be honest. I create a new layer. I want to switch to the air brush, which is the most simple brush you have in your library. Now, I want to sort of a greenish color, something quite dark. And then I go slightly lighter. Say, I think that this is a right combination. From here, I would go and I create a swatch. And the fourth one, which is, again, now I can just clean up my palette. With a black arrow. I can transform and rotate. The layer. Just plays the palette next to the plant. So now I create a new layer. I sample the second color. Just pressed it with my finger and I drop appears. I can simply outline the seeds. There's a bit of an opening here. Probably this seed is inside. I don't want to create one layer for each individual element. So I want to be smart about. So I create a few seeds into one layer and then I will create the one behind on different layers. So I can now drag and drop. And I can fix manually if there are some pixels there, remain empty. So I can create a new layer now I can place it underneath. And I do exactly the same and do the outline first. Outline the opening of the seed. I can actually pay in manually. You don't need to drop the Carla every time, you know, you can do stuff manually. On the same layer, I can pay seeds behind in the pack. I can do this one here. I agree. And new layer now I want to place it on the I12. Probably agree a new layer again. And I want to do the back part of this. So I can go back and create a new layer. And I want to create one. We're going to do that later on. So now I want to create a new layer, make a clipping mask for each individual layer. So every layer as I clipping mask associated, I can start from the seed on the back. We have to mention that light is coming from 45 degrees. So that means that the right-hand side of the subject would be in the shade. So first of all, I want to identify what is in the shade. And I want to apply the second color. We also have to keep in mind that those shapes are circular. I lack spheres, so that the shadow is, has to follow the curvature of the seeds. I'm painting the seeds in the bag. So it's more about understanding when they shadow could be and then show them. I can now select the seats in the front and I can simply keep them in the same way. And there we go. So now I can select the darkest green on our palate. And I basically I do the same. I just reduce the area of the shadows and I'm going to add this dark green. Once you identify the right seed. And again, I want to add the color. Same for D. Now this seed in the back, the same here, the shadow here. Finally. Now I want to create a new layer because I want to pay the other side of this. So these would be the inside. So if I create a new layer and place it underneath, I can paint part of this. So I can I need to unclick this. And then I can just, and again, I want to add some shading tie created now a new layer. I go for the brightest color palette and we want to add some light. Highlight. With this input strikes. You can get something quite straightforward, you know, quite fascinating at the same time. Now I want to duplicate palette. Just move it a bit. I go to use iteration, and I want to look for a brown color. So I don't want to recreate the palette because I want the same value, but different colors. When you sample the color and you have the drawing, you have to be sure that you're not sampling on top of the drawing. Otherwise it would be a different color. You have to get like a spot ways clear. So now I'm going to create the outline for the branches. I can manually the branch. Paying the branch, you can decide to feel the branch where you have to be sure that the app line is closed, like in this case. And then you can manually fix stuff here and there. So we've got this space color. So that means that I can create a new layer, create clipping mask, and then I would go dark out. So exactly the same process as for the seeds. I want to make it darker on the right-hand side, but also would be darker and the seeds because the seeds would cast shadows. So now the Dhaka collagens was tested. Colossal destined dark has we have in our palette. And I can see these two illustration. Now once again, I wanted to create this new layer clipping mask again. And I would go and now for the brightest color than brightest brown we have. And with these color, I want to add some splash of light is not powerful new ways not recognize non-linear because I want to simulate the fart there on the branch does some sort of bar p or some sort of noise for either one, the brush strokes to be uniform. So I create a new layer again. I can duplicate the pilots once again, isolated and saturation. And this time we want to find a nice color for the seeds. I would go for something kind of Vionnet, poor. You have to look in the three pallet and see and make an assumption, say, oh, I think this is a nice combination of colors. So it's not just finding and nice colors, but say, is also finding nice colors. They go well together. So I can create a new layer. And I start from the second Kerala, which is sort of a meat tone. And I can simply paint because this layer is underneath the seats. So I need to identify that layer which is there. So I can simply erase part of the seats is I can reveal what. What is underneath. So I want to quickly fix this. And here's where I can create a new layer, the seed inside. And I can simply delete. So sometimes you have to think about what's the smartest way to achieve something. If it's playing with the layer, sometimes it gets very confusing or if kind of cheating. So you paint and then arrays, and that's the smart way to approach your painting. So I'm think I want to go straight to the darkest color that we have because we don't have much space here for these. And there's more space. And I can use the darkest color three times. And I wanted to create a specific layer for these. And then I have the darkest color. Now speech that Brian, this pink or violet or purple. And I can add some highlight just to give the impression there is a sort of circular, spherical object. Now, I can merge the palette together so I can save some layers. I can also merge together the branch, as well as the seeds and the green bits. So we procreate, you have to be smart about managing your Lay is as there's a maximum of 65 layers. Because I want to merge the green beads together. Arrays some parts of the illustration so I can reveal the seeds behind. Okay, so you have now these, this is without a drawing so he gets clearer. So if I switch now to the calligraphy, like the tulips before, I want to create an outline, because an outline here works perfectly well, especially the black outline works really, really well. So exactly the same as before. We want these black line. We don't want like a straight line, but we want to kind of modulate the line along the illustration. So basically exactly the same as before. We want to add some details. You could do this in real life, you use acrylic paint, you can get something basically the same. You use acrylic paint, not much water, so you can get your page colors. And then when it's completely dry, you can get like a marker and do this work. The top part of the Brown. And I would treat this the same way. And now I can apply the seeds as you can see, because the brush tape is off according to your pressure. If you play we pressure, you can get something really interesting. Maybe I want to add some details here. So it's consistent with the other seeds. And as you can see, it's quite cartoony, is very pleasant. It's fun and simple. Later in the course, we're going to use many, many brushes for, for making the outline. These Prussian perceive law has new texture, is very solid. The only thing is about the pressure. The tapering off the brush. Some strikes on lines to the highlight. Now that I'm making the outline, the structure of this part would be clear. It makes more sense. Now, these two remaining. So that's another style. It's different from the two loops because for the tulips we brush like a soft brush. So we had some shading between the times. The turns are quite compact. You can actually see them. And it's kind of a cell cell animation look. Now we want to probably clean up the base of the branch. We don't lie to stop. So suddenly so we can get soft brush and erase the base. Then we can rename the layers so we can rename them into leaves, flowers, and branches. That could be like the palette. And these would be the. Now you can swipe rights to select multiple layers and then you group them. And in this case, we can rename this group as seeds. And this is, the second instruction is now down. 6. Airbrushes and Flicks Brush: Okay, now we're going to work on this flower. You can choose a color, and then you can switch between the monks. It can be complementaries, pick complimentary, analogous. So if we choose analogous, you would create three colors. They go well together, the very nice together. So for this, we can use this moral monoline means there is a quite standard thickness. You can increase this line, which makes things a little bit easier. And for this flower, we want to create the base in one color. The second bring pet shoes with another camera and the top petals with a yellow color. So I want to create this shape fast. Do the outline. And I can skip one. And then I create a new one. And then this one here, right? Probably. And then I can simply fill the shapes with cholera. You can see that you have to fix it manually. Sometimes. It's definitely faster than doing it manually. It depends. Many people they found that relaxing to paint. So it's up to you really. Now I can create a new layer. I can go probably Bryce hours, it gets more saturated. I can place delay is behind the red petals and I can add these orange patterns now. So sometimes it's just easier to say, I think I want to repay these PESTLE because I didn't like the shape. And I can do the same for this pencil here. And I can probably go and feel these password at the base of the flower. So I can do. This one. Now, on the right-hand side. Here I wanted to create a bit of a appointed PESTLE. Now I want to create a new layer for the yellow petals and plays layer underneath the orange layer. Now are going to make the outline of the petals without worrying too much to draw each individual petal. Then I can join the two ends and feel the layer with the yellow color. Now I want to create a new layer and do the stem. So I would move towards the green area of the spectrum. And I would probably go slightly dark and create days. We're going to erase the base of the petals, but now it's fine to draw it like that. So now we have four bays related to the four elements form in the flower. I've got the feeling that I want to change the red petals color a little bit more. Maybe make it darker. And as well, I want to make the yellow rice a probably more saturated. And the same thing applies to the orange path. Now, I create a new layer for each individual elements. And I clipping mask the layers. So each layers as coat a layer associates. Now I can sample the green color. I can go to the airbrushing section and choose soft brush. I won't. You go slightly darker and just paint on the outside. So just the edge of the brush is impacting the layer. So something not too dissimilar from the first illustration. And I can do the same for the red Penzu. I assemble direct color. I go dark and I paint the base of the petals. Now I want to go and I want to pay the tips of the petals. So we have dark at the base and light at the top. So I can do the same for the orange patches upon to sample the orange color, go dark. And then same thing for the yellow petals. So now with spray paint, which is a really lovely brush, we can add some disturbance. Say we can paint over, and then we can simply do this for each individual layer. So we do one for green, one for the red, one for the orange, and one for the yellow. We want to pick something dark orange now, not too much, just a tiny bit. So we want just some sort of texture. Rather than painting each individual deities forming the texture, we want to go more like random, like more abstract in a way more illustrative. So now we can clipping mask the spray paint. And you can see now there is some texture. But we didn't spend much time doing this texture. It was easy and quick. Now what you want to do is to select a mode that could work well. So normally multiply works really well. All color ban, all linear burn. So in my case I've ng multiply works really well. So I select multiply. I just lower the opacity down, attach. Now once again, I can create a new layer to the calligraphy script and make a Ink outline. Why don't I do the outline? I've got the freedom to choose to make some amends on the way and that's very acceptable. You know, maybe you think how this stuff works better if I do these changes, these amend. So you can do that and then we can delete what's it outside of the outline. That's why it's important to have different layers. So you can actually change or amend each individual elements without getting crazy about the adjacent kinase or adjacent elements. Again, you want to play around also with the pressure. So you get 5y his stroke or find a stroke where you need. So that's sort of down ten lines. Now we don't need to create different layers for the process, for the ink stage. So this is fine. So we now moving to the orange petals. And again we want this MOOC pointed. Arafat was fire in a way and as a stylized version of flames. And again, some description along the body of each individual Pashto. You don't want to overdo it. You have to create a balanced image. So that means that you don't need to do this too much. Now we're moving to the yellow petals. As I mentioned before. Having a nice line, you can increase the streamline setting so that can help you make these lines. Now we want to add some details. Before we want to add this lines that can give the impression that they're moving. Moving down to the stand. I don't remember the name of these flower has called this quiet fake. Stan. You want to also create some internal structure. I want to merge the patterns. So I can now select D. Yellow petals and choose the arrays. And I want to do some cleanup. Cleanup is also very important. Obviously, you can undo, you can talk to fingers on your screen and you undo and redo. You tap with three fingers. Now I can select the orange layer and quickly fix it. So I can see that the tape that needs to be painted in, I just prefer to erase the whole thing and then go back and fix what has to be fixed. So obviously when I erase, I can reveal additional problems. So it's something that has to be recolored. And how I want to go and fix the orange layer again due date. And then as I did before, we can play with a hue and saturation. We can adjust the Carla. We can choose a totally different color. Maybe sometimes you start with the color palette and then on the way you decide that you change the column mood. So everything is accessible. Now I want to create this additional layer. And when the calligraphy script, I want these high night to drawing just a few lines. I want to do the same for the orange panels. And I will do the same for the yellow ones as well. Pick the lies on the yellow is not too visible because the ulna obviously is a very dry. It's important that we have some tag as well. Now it's time to add some light to the stem. I want to go horizontal this time because the structure that are quite horizontal rather than vertical lines. And then here I can go back for just a few lines, you know, not too many. And let's say it. So that's the fad illustrations done that we can rename the layers and we can call it simply black ink. And then these can be red and orange and yellow. And this can be stemmed. Once again, we want to group these new illustration and we can call it flower red. Quite generic name to be honest. So what we want to do is to fix the base of the stem because we don't lie. Sanding a sharp end. So I can get a soft brush so we can move out. We can ease out the pace of i illustration. And this is a, this is done. 7. Medium Nozzle and Flicks Brush: In this lesson, we're going to paint this flower. We want to grab the palette from the website. Coolers, kinase. I'm not too sure how to pronounce them. So you can generate palette. You can choose whatever colors you like. So you can export as PNG, and then you would copy the image. And then you paste back into procreate, three fingers down and then paste. So you have the pilot now. You can move it and place it wherever you like. And I can do the same for a second pilot. So I want to create a new layer. I choose the calligraphy script. And then I want to get the meat town for this pink color. So first of all, I would create the outline of this flowers. And then I color up the flower. Then I want to create a new layer. I place it underneath these Flour. And I would do the same for the second flower. And I feel this with color. Same thing. New layer, laser underneath. I create a new layer. Now, I can switch to an orangey color that's quite bright, that's quite light. And I want to create the outline for the Pistols. Now I can create the Fed layer for the Pistols. So I can simply outlined drawing. I create a new layer for each individual flour. And I create clipping mask. I can then sample the darkest pink. We can choose medium nozzle. And I can simply paint with this new brush from the center of the flower towards the outside, slightly sorts of concentrating, focusing more on the middle part of the petals. So I can do the same for the second flower. I starve. Behind the pistols and I go towards the outside. And I'm to save for the third flower. Now I select the brightest pink and with spray paint, I can create again, some texture. Out would do the same for this second flower. And the same for the first flower. Now, I want to select the dark pink and go even darker. So we spray paint brush. I want to add the spray paint from the middle of the flower towards the outside. So basically trying to create a sort of texture, but also I'm trying to find a new style that can be quite different from the flowers we already painted. So later in the course we're going to use some different brush that. So we're still kind of in the simple part of the course. Now we can unlock the drawing and we can reduce the capacity layer. So E is not too distracting. Now we can jump on the pistols and we want to do the same. So crit three layers. We clipping most known and now we had these spray paint pass. So we do these for the second flowers. And when we do that for the third flower, petals and pistols are treated in the same way. Now, we can use caution. We can blur the details, detect sharp. And we can do the same for each individual flower. That I do this for the pixels as well. And now the third flower, caution, glad you swipe right and you try to get the same sorts of settings or the Centaurs or feelings that you have when you see the other flowers. So you want to be consistent. You don't want anything to sharp, respect or compare to the other flower. And once again, with the calligraphy script, instead of choosing black, this time, we want to choose a dark pink for the petals. And once again, we create. These sorts of elegant stroke. So we do the outline fast, the perimeters have As and then we're gonna move inside each petal. And we want to break up the lines a bit. If I increase the size of the brush, I can make the midline of the petal by pressing a little bit more at the beginning of the stroke and then release the pressure so you can get something that tape is off. Then we might want to go back to 3%, which was the size of the initial brash. And we can create these additional lines. Now we actually, I can merge that pistols and then I can move on top of the stroke. Now, I can do the same for the flower behind. So you can see now I'm following more the drawing rather than what I painted. But that's okay because I'm going to use the eraser and then clean up the petals. So again, I do the password, the outline first. We're gonna make sure my lines, I'm gracious. That plays into the eyes. No, I go back to the biggest strike. And I'm doing exactly the same as before. I press release. Press release, press and release. And I do that for. These Petal as well. Because I don't want to change the brush. Again. I jumped straight away to the bit line for these petals. And I do the same. Now, I go back to 3%. And I'm going to add this quick lines. No, I do these lines here. Let's do much. So I undo that. Now, I want to try to select the dark has orange we have, and then we go even darker. And then I just add a few lines towards the base of the pistol. Then I have some internal structure and some in turn details. And we'll create a new layer there. And aren't these lines. It's now time for the third flower. So I create a new layer. And I would to tease. Now, we're going to sort out all the layers and we're going to rename them. So now the base color is done so I can merge flowers and pistols, but not the outlines. Now, I think I want to clean up so I hide the drawing so it doesn't get too confusing. And I simply arrays or is outside d, outline exactly the same as we did for the other flowers. To clean up. Its quite important process. So almost done. And I think one to delete old. So these and these bit. Try again. So now I create a new layer. I also create kicking mosque, and that would be done for each petals. One to grab these dark color. And once again, I can shy with the Flix, flicks, different sorts of spray paint. So if I gave you just a tiny bit towards the outside so you don't get involved with the center of the flower. But it's just about the margins. So I can, I can try to lower down your passage and ask myself too alive. Because most of the times you try something and then you are not really happy about it. So you have to try things out. In my case, I think I would stick with the Color Burn, which created so kind of different towns. Because I've chosen colored ban, it has to be the same for the upper layer. So I can switch to color band straightaway and reduce the opacity and campaigned doing these it when I paint, I will get immediately the effect that I'm after. And I do this for the third color as well. Now I want to clean up the Pistols. As you can see, it takes a lot of passion to paint. But if we imagine if we had to do these traditionally like real watercolor or recolor, it would take much, much longer. So we have to be patient and we have to focus on what we're doing without the anxiety to speed things up as fast as we can. We can take our time. So a mapping these reddish color towards the tips of the pistols. And I can probably once again choose a mode that I like. And in this case can be Pin Light, which gives this sort of bright color. The second flower has to be switched to pin light as well. Now I want to duplicate the palette and get a different color for the seeds they are behind the flowers. I would select you and saturation and it would slide untill unhappy. As I change, I would create the outlying fast rather than painting fast. It's far change just to see that if you change procedure is not too different. So I'm not going to paint the hair straight away and just painting the shapes of the seeds. Right? Now we have these two next to these flower and the other two on the other side. Now, if I select the palette layer, I just want to add the color of the strike. And now I will duplicate this. I would hide the first stroke and wanted to hide the flowers so I can concentrate on the seeds only. So I think I'm going to close these shapes here so I can feel the seeds. Actually I can duplicate these now, which is the updated seeds. And selecting these tone of brown, I can simply feel the seeds skipping one because I've noticed they're giving close the shape. So I can actually go closer to the corner. So I walk less to feel the shapes. So now I'm going to quickly fix this and then sampling the Carla and then fill it up. Now I'll create a new layer. I create also the clipping mask. And we medium nozzle. Let's do big reduce the size. And with a medium nozzle, I just pain the right-hand side of the seed. I see keeping mind that light is coming from 45 degrees. So I want to have the shade and the shadows on the right-hand side and the light on the left-hand side. I wanted to be consistent for our the illustration. So a little bit dark towards the base because there are some cast shadows from the petals on the seeds to this one here, quite nested. So probably they're more shadows towards the base. And now I switch to a brighter brown. And I want to add these light. Now I select the meat town. And I wanted to paint a kind of an in-between color. So I wanted to merge the two tones together. And I will do that using the meat tone. To once again, this is a new effect. I'm not using the air brush pop. The result is similar. So that would be these. Now I've create an additional layer of clipping mascot. I sample this dark stroke and if I select flicks, I want to add this kind of splatter spray paint to my illustration. I sort of concentrating more towards the central part. And now that I switch to a brighter color, I want to concentrate more towards the hours her part was demand. Sorry, I feel I can lower this down the opacity down off the layer. And once again, I can choose what Callen mode would work best. And I think hard light, it's fine. It's quite consistent with what I've done so far. Again, we can caution lab. So we have the same style. Now in a new layer, I switched to the calligraphy script and I wanted to add some details, some hair or some forms. We want to create these for the seeds. I start by the outer shape and then I would move inside the body of the seeds. Again because the settings for this brush is, do you have the TPP stays tapering off? We have this tapering effect, which is quite cool. I slowly do the perimeters of each seat. So now just to be safe, I want to create a new layer because I'm not sure if what I'm doing will work. So if I create a new layer, I can then decide if you want to keep it or delete it. Say I want to add these hair along the body of each individual seeds. It's like a cactus May's not characters or something like that. I think I live here, I wanna keep it. I think is gracious and it's cool. So that's it. So now I can merge the seeds, the painting layer. I can possibly merge the hair together and the outline. So I've got the outline and the hair onto one layer. Now I can switch to the soft brush. You can see that the capacity is not set. 200% is way down. So you find 12, I can create a new layer and add these, this color. If you want to create different shades or different column moods, you can't create a new layer, do like a soft brush as Aidid, and then you choose one of the mode. Now I can go to use as ration and increases at the ration or change the color. You can do as many things as you lie. So you can have the left side a little bit green and the right side more rubbish. And whether you can have raise if you've seen the went too far. And that's it. That could be another illustration which has got another style. We now want to merge some layers because we want to be smart about the number of layers. Unfortunately, procreates got a maximum of 65 layers or we can go the crazy with the number of layers. Can merge the pieces together and the flowers together. I need to fix that pistols because I goes on top of the flower. I just choose the brush and just simply arrays and go back to 100% capacity. I can also merge the seeds. And finally, I can rename the layers. That would be pistols, Pascals and seeds. As before, I select them, I group the layers and I renamed that group. And that can be flower pink. And this is it. The fourth illustration is now completed. 8. Oil Plant: Okay, in this lesson, we're going to do something completely different. We're going to choose a painting brush, which is the oil paints. We can then choose a green color. And if we paint the oil paint, create something like this. This is very messy. This is very different from what we've done so far. So let's see how can we use it. For festival. I choose a green color and the calligraphy script on a new layer, I will create the shapes for the leaves. Would create this one fast. So I start from the time I want to create the outline for the upper parts of the leaf. Right? So now I need to close the shape. So once you connect, I wanted to join the two strokes. And at this point I can fail the shapes with this color. And I can do the psi. So I've got two layers. Now, I want to modify the brightness of this layer so it gets Bryson. And I can actually do the same for the layer underneath. So now you want to create a new layer and you create a clipping mask for this as well. Now, we want to select the painting library and then go down to oil paint. I want to start from the back side. And it's sort of about finding a nice rushed strike and nice. So you have to try. You can undo and you can try again. In my case, I just create a few strikes, quite convincing. Some painting. Apply the colour, but then if you go back, you remove the color. So it's not the easiest brush to whack wave. It's also quite fun. Obviously. It's about trying. It's about understanding the bad set things and the best way to use it. So I can create a new layer. Now, I don't want to get too messy into one layer. So if I create a new layer, I'm not going to impact what's going on on the layer below. Now I create a new layer for the upper part. And again, I want to try some quake strikes, adding and removing and find a good way. I think this is nice and this is what I'm after. I can merge them down. So what I want to do now is to create a palette. I can create full colors. I can put the pallets on top of the drawing because I don't want to sample the graphite coming from the drawing. Switching back to the calligraphy scraped, Now I'm going to make each individual plan. And I create three layers that would be related to part of this plant. That would be one. That would be the second part. Actually I want to erase. And that would be the fats. I can create a new layer for each individual layer and then clipping mask. So I'm going to start from that. I'm going to start from the dark has color. And again, I want to try something quick and fast and controlling the level of pressure. I want to show what I've done previously because I want to be consistent. The one in the front on the again, this is according to the pressure because I don't want to just create a new one so I can manage them now. Create a new layer now, part of the plant. I can probably hide them. And I can do, and I create a new layer. I can now do. And then I can do. Now I want to reveal the other layers. I can stop. I will create a new I create clipping mask. And I switched to the, Once again something quake1 and crazy. You can undo as many times as you want and then say, or maybe this one's bats are these brush strokes is best. So I just moved these lay IN clipping mask. So I create a new layer. So I'm ready to do a darker on the right-hand side. Like lies on the left side. Probably this one carries down. So I unclear. And clip it back. And the inside of the leaf would be this would be on top of everything. So it create a new layer clipping mask. And I try something new much thinking care is just trying and basically happens in real life. So if you wanted to do something like this, we reall paint you would be exactly the same you have to do. Just, just try and do it. Obviously in real life you can't, you don't have the undo. Oil paints are quite versatile. So if you want to change more than achievable To be honest, water color and not really lie down. Oil paint acquire, apply vessels are some bright color. Fine. Now a new layer for the light color. And then you can clip. Then we want to merge these leaves together. So we don't want too many layers. So we basically merge these layers together. Now you create a new layer. You switch back to the calligraphy script. And now we're ready to work out the bottom part of the plant. Now I want to create a new layer and a place it underneath these. Actually I want to concentrate on this new ones. I would create in front. Now it's time for this leaf which is in the back. Then I would create a new layer. Underneath that one that we just created. These leaves here is two of them. And now I would create this part. I can move the pallet so they're closer. I showed the layers that have been done. And I'm ready to paint these new lives. So I switch back to the painting, brush, the oil paint. And I will create new layers and clipping mask. For each individual leaf. I can jump from one leaf to another and quickly paint. So I start from this. I selected that as I want to be consistent with the way I created the other leaves. And I do that. So that's the base it makes stanza is darker. You know, when you work with layers can be a bit confusing. The way created and the way you placed the layers by, you know, is not that difficult. Ita. Again, we've got this quick. And I can choose different color. Start just about adding color base, also removing color. So that's that difficulty, apparently wildly unpredictable. Same thing for some white paint in order to separate the leaves. And it also makes sense to add some line there which is at a certain angle, they will be catching some blind swirl. It stays dark on the right-hand side and will be lighter, would be prime on the left side. And also gets darker when the leaves are nested. So it's a little bit. So as you can see, this is very different from what we've done so far in Luke. And also the way that we manage, we deal with colors being quite precise for the four flowers. Here, we are quick and rough, so it's very different. And obviously this technique is not for everyone. If you get too nervous dealing with this sort of brush, obviously you don't want to choose it. You want to choose the oil paint or into very detail, very specific. I'm not sure this brush is the one you should choose. So it's less confusing. I can, rather than play around these part from just quick and easy and gives back the bottom part of the plant. And I'm going to make, I can now feel free to create clipping mask. We want to do exactly the same as before. We want to get something interesting. Painting with the same color after. Can we switch back to the oil? Selecting the dark as Carla, paying these as any other elements in this little painting. If you believe is too much, you can remove the using the same catalyzed. Lastly, we want to add these two leaves on the side. So we're going to quickly too. So I can create clipping mask. Let's switch back to the oil paint as usual now. And then just paint these additional. Now I can manage these leaves, these layers together. And actually I can merge the whole plan together. So the whole plan now is into one layer. Now, I can play with hue and saturation. I can increase the saturation level of the painting so he gets MOOC. And if I create a new layer and I flip him ask, as I did before, we can choose a spray paint. And that's probably to bake spray paint. We can possibly add some sort of PEC shot. There is also typical in some oil painting technique. We're going to reduce the opacity of the layer up before we can select a column mode. So in this case, dark and works fine. And again, I can decrease the capacity level. I can do exactly the same for the pride. So I choose a license and I pray this new color, possibly focusing more on the brightest area. Overlay works fine. And again, I can decrease the capacity. I don't want the pain to be to present. Now, I can create an additional layer. This time, I can switch to the soft brush. And as I did before, we can change the base of the plant to be a different color. So something more like brownish or reddish. What we want to do now is to find a fine. So for example, we find hue. Color works fine, but I think we want to go with most saturation. And also you can change the colors and this will work fine. Snot like realistic, or be more illustrative of more fantasy. And you can place it on top so it would affect different. For the drawing. Gets more visible. You create the outline using these new. So the difference between this is some sort of texture. So he's not solely into that kind of thing, works fine. The leaves on the side, as well as the calligraphy scraped all these brush tape is off. According to the pressure. Again, I want to play with tapering of the strike. I don't know. So I'm not gonna paint the flowers as we're going to paint these three flowers. Flowers with a different style. Approach, those flowers in a different way using three different techniques. This is done could be a FAQ works quite well, to be honest. I've just got the feeling that QP and rights and pop-up remove saturated. I can also sort of shift the cameras as well. But let's say that this is fine. We can delete the second layer for the drawing. Again, actually hide the drum because I want to clean up these illustrations as well. And I do that are using the brush. And then I just clean up the painting. No. And rename these into oil. Plants can actually include the palate. Then we can reduce lively the opacity of the strike. And for the time being, I can keep the green version. We can always ten on this layer. And this is the old brush painting demonstration is now completed. 9. Hard Airbrush - Low Opacity: In this lesson, we're going to pay in these plants. So first of all, we want to create a new layer. And because we are going to start painting from the branch, we want to choose as sort of a brownish color. Something not too dark or not to something that can be a meat town. Then are we switched to brush to get something like the, something quite solid. And I will create the outline fast. You can see we just want to paint. We can go behind the plants as the leaves would be on top. Now we can simply fill the branch with this brown color. And I think I want to go slightly Bryce. Now I can create a new layer and I can place down the fast color for the palate. Then we can create these dark hair. And dark. Now I can go back to the initial Brown and at this point I can go prize. So in total, we're gonna get five colors for this branch. I can move in a better place. Now I can create a new layer and create also a clipping mask. By now we are familiar with this process. We want to keep in mind that light is coming from the left side. So that means that the right-hand side of the plant would be in the dark, would be in the shade. So first of all, I want to select the brush. And then with the darkest styling, we want to add this layer, this shadow here. I want to identify which part of the plant will be in the shade and then just paint the dark has to be some shadow on the Moon. I'm painting the shadow cast from the leaves. Now want to create a new layer. I would place it underneath the dark and selecting a brighter brown, I create these additional town. So that would be the Fed, considering the base color. So now I can select the brightest color from the pilot and then create clipping mask. Now we want to live that can simulate the highlights. So the highlight will, generally speaking, towards the center part of the branch, the middle part of the branch. Because I want to create more description. Now we can switch to this munching tool from the air brushing library. We can select soft brush. So we're going to start from the darkest color. You want to reduce the capacity and the size. And we are going to ease out. The margin is very sharp. I just want to blend the scholar. You have to play a little bit with the pressure. So you can horizontally as well as back. As you can see straight away, we are ready creating some shading. And this is what we are after. We want to blend days, we want to smudge. We're going to blend in very few steps. You're going to get something. You have to become familiar with the level of pressure that you have to apply on the screen. So you can hide the drawing. Now we want to blend these brightest scholars. And because the strikes, the painting strikes or show, obviously, it would take a little bit more time to blend them in. As you can see, we are already creating some shading, some descriptions. We are adding some details. See. So we can reduce your passage here a little bit and then merge the layers together. Now I can duplicate this. Also, reducing your passage and then match these again. This is something I normally do. I create something I paint that I duplicate the layer and I decreased your passage. Now I can create a new layer. Also the clipping mask. Select the dark has done and now switching back to the brush, just testing the size it can be smaller. Once again, that's very important to the process. Coming from the pressure that you apply. You can see this is quite rough. Sketch out the top of the painting. So with this simple brush, you can get something extremely realistic. Basically the most simple brush you can have in procreating father shop in any application. This is the airbrushed and that's a very, very, very basic brush is very powerful at the same time, you can create something extremely, extremely realistic. I think this is done. I can change the sharp shops. And it's also the fact that we want to keep something, something. So now if you hide the drawing and if you see this illustration from a certain distance, you see there is already getting into now you can duplicate the layer. And now if you go for caution, caution what we've done. Now you create an additional layer, you clipping mask. You switch to the brightest color, and then we want to go even brighter. And with the same brush as before. We probably want to reduce the brush size because we want to be even more descriptive. And now we are seeing the light following the same process as before, shot strikes. We don't want to use too much winds along the margins. Painting with this color. I didn't try to use caution. Caution. Caution. And in this case, it wouldn't be as strong as before. Basically, these are not pressing on the screen. I just want now I can merge these layers together, create a new layer. And now I would go quiet dark, not really black, but almost. And I, we get something like this. So if I switch to the calligraphy scripts, this is the sort of ink that we want to use for the outline. And now I'm going to create the outline. And this is exactly the same process as we did for the other illustrations. We can also create the outline. We don't want. Mm-hm. Yeah. Definitely. We carry on with the process. He takes some time to this branch. He's a bit distracting. And then I keep on and highlights. Now I can see the difference, so I can delete this. Now. I can create a new layer. I switch to the flakes. I select the second darkest color. On the new layer, we're going to add some ideas. We want to reduce the drop size or what just your capacity. And then we can slightly aren't layer or spray paint. We want to do the same for the brightest color because we want to create difference in town. So we want some price. And some dogs would create some tech shop. Now, I can caution black, so you're going to create some noise. Now, I can play around with delay amount. And you can basically choose whatever you like here. So in my case I've been hard light with WACC. Well, I can now duplicate keeping with light and then reduce the opacity of this layer. Now that would be the dark layer. I can create a new layer when you create a lay in between to clipping mask gets clipping mask stray away. You can now switch to a brighter color. And we want to switch this time to a 2B pencil. Why would they want to do that? Because 2B pencil, that's got some tech shop from the paper. And I think it's cool to use it here because the park is not like a smooth side phase. It's a bit rough and I think these can work really, really well. Now I can move the drawing on top of this. I can hide it. I can manage the branch layers together. So we have one layer only and we can rename it into branch. That would be the branch. And this is the branch palette. Now I can duplicate the branch to have a safe copy. And I think I want to go you slightly Bryce, and I need to be more saturated. So you see this is beta. So when I'm happy, I can merge them down. I can select multiple layers by swiping, right? And then you. Then rename and rename this into branch. Right? Now that the branch is done, we can focus on the leaves. We're going to approach the leaves in the very same way. I switched to the calligraphy script. And I will get something like this. And then I'm going to make the outline for each leaf. Sometimes when you end up with many layers get be confusing. But we want to create a layer for each individual. So we can see, right? So now we can speed up for each individual is quite straightforward. Here we go n for these three remaining leaves, they are in the background, we can use just one layer. Now, I select the second dark color. I will get something like this. So I want to switch to hot air brush. We want reduce the opacity of the brush because we want the paint to build up. So we're going to use a slightly different approach because for the branch we use a 100% capacity. Why here we are going to use. Very, very low capacity. So you can see that where we pay fees almost that we're going to blend straight away, we're going to smudge straightaway. And this is because the tones building up. My way of working is normally live. These are always work with a very low capacity. And then I go over the same spots for many time untill the tone that I'm off. So now I can switch to the darkest green and make it Dhaka, who was the base where the leaves are nested. To identify. You can simply create clipping mask and then I create a mask. Otherwise, you can start directly from the darkest green towns as well. The shadow is. Just for the painting brush hike and get something really, really comes down to the opacity. For the remaining. Basically, I can actually reduce your passage on the leaves. When you do that, you got the freedom to go back and forth. Maximum 65 layers. And we have to be smart about the way we use our fingers, reaching towards the dangerous these days leaf underneath the other one. I finished the first empty spot. And with this darker color, we can paint basically the shadows. They're very soft shadow, is there no, I shop, but we want to add these dark at Town which is consistent with the level of darkness day is present in the branch that we want to get something similar, something similar in Luke. So as you can see, as soon as you add some dark color, that the drawing looks nicer. You can see several times over the same spot. You can see these ones a little bit more cylindrical. Okay, so that means that all of these leaves, I want to pay into the empty space is there. I have to place a underneath the branch group, which is behind everything. And now I can create a new layer. I select the darker tone, the darker green. I can go even darker. I switch to the calligraphy scraped. And i want to do the line work. So I'm going to test the size of the brush. I want these to be consistent with the branch on a new layer are high the drawing, so I don't get confused. Now again, I can increase the capacity of the drawing. And now I want to create the same kind of details that we are for the branch line tapering off. So this is consistent with the branch. I create a new layer and I try to really work well on this. So now I can kill this taboo. Then I can erase a little bit along the margin. And I can merge the leaves together. Now, Ubuntu, clipping mask, less taboo. We believed I create a new layer. Now I can sample it dark color. I switched to multiply straightaway. And I use flicks. I want to use a couple of brushes for adding some texture. One stumble, and one is flakes. So you find new flakes, I can reduce your PARCC. So it's just a tech shop is now a prominent feature. Now, I can duplicate the stem and I can play we end saturation. So if I get you, I can switch to different color. Slide two different color. And I can say, oh, maybe I want to make it blue age or by Annette. And I think in this case, this taint of Blue works really well. So what I can do, decide to have some blue towards the top near the flour and keep the green towards the base. With a simple array, say with a very big brush, I can just erase the base. As simple as that. Now I want to pay into these little buds, so I'm going to approach them in the same way. I switch back to the calligraphy script. I create a new layer and then I do the outline fast. Then R will feel the shapes with the sort of green. I probably want free buds onto one layer. And then the one in the back, I can create a different name. Now I can actually select the same color for the, I can do the ink straightaway white lab coat, and the calligraphy scripts. So I don't need to go back and forth. I can do away. And I can add some dtau squared away. I just want to show you that the process is not changing rapidly. You make a choice, and you want to approach the easiest way possible. I think I want to clean up what I've done. I can simply outside the outline is usually gets a little bit more destructive. And there are some spots that needed to be fixed. Now I can select the branches. Relevant. Empty spaces. Create clipping mask. I1 to select the brush. Get the darker color. And we're gonna make dark on the right-hand side of these bonds. And then we're going to make here, which is kind of consistent with the branch. So you can see that the shadow is basically the same. Just need to put this one. Maybe I want to erase these rather than moving. And now I can sum. To simulate some lights. I want to increase the price because price compared to a foo. So that's why I want to add some whitish color. And this is again because I can match them together, not the outline, just a painting. And again, I can. Play a little bit wave ends at ration and brightness, going to make them brighter and a little bit more saturated. So they have these very, very bright green. Now I can create a new layer. I'll create another clipping mask. And if i is which flakes, I can just reduce the size and then I can just add the layer of flakes, just a tiny bit, just some texture. And this is it now the branch and the leaves and the bards are done. I can merge some layers together. We want to be smart about the number of layers. And now we're going to paint the flower. But before painting the flower, we want to organize the layer stock a little bit so we can create a new group by swiping, right, and select multiple layers. We can rename this layer into flower stamp. So I can hide the flower stem and then I can do the petals. So I'll create a new layer. I switched to the calligraphy scraped, and I can choose the second brightest color. For each path. I want to create the outline of the flower without using a clipping mask. Now I can feel the flower with this. Then I can click in mass, which is the only one we're going to create. What I want to do, I want to make it at the base of the petals. And then I also want to make it on the second level. I want to simulate the cast shadow. The brightest. So you want to create something. Each PESTLE. Fine. And this is it. Now, we can select the darkest color. We can because we want to create the outline for the petals. So I switch to the calligraphy script. I create a new layer. I reduce the size to be consistent with the other outlines. And once again, I'm going to create the outline. And when I create the outline, I can also do some detailing on the way. And I'm going to do for all the petals. It's quite important to break up the line. You can see that if you break up the line, there is some movement. There's a feeling of dynamism which is good. Rather than a fake serious line. You want different lines forming one line. Function of them. So to answer the question, and that can be done. And after that point, the point of action. And then this last Passover here. Now I want to create a new layer because I want to pay in the central part of this flower, We're gonna create like small circles. We don't want to get crazy about all the details, so we just choose some circles and then we slowly move inside. You wanna jump. So you're not too fixated with some spot. We want to create some randomness and it's good to jump from one spot to another. So they just say, I think we're going to skip the pieces. They want to be consistent about size. There's a bit of difference in scale. One small, one is big. You don't want anything to be too small. Maybe it's okay to go to small but not too nice. Good differentiates that shapes a little. You can hide. The other way is it doesn't get too confusing. And now you can switch. It doesn't really matter. You know, it can be like a pink, orange, yellow, red. I think I'm going to go for this rouse color. And I just want to create the base width is very large brush. And then with a smaller brush, I can just simply paint inside the outline. You can play with. Looking at the painting from the green and the brown from the brand. That works best. And I think that yellow works really well as it in fact, you might expect that that part of the flower is actually yellow. You can create a new layer. You click, you must use a soft brush. And then with the brighter color, we go, going to paint the outside the perimeter. And we want to duplicate the petals. And once again, I can shift the use lighter. I'm looking at the day illustration and say, does it work well, this is what I want and then you make a decision. And I think I'm happy with that. So I can see the difference. Then as, as I did for the stem, I can erase the outer perimeter of the flower so we keep the warm inside towards the center. Now I can do the same. I can select the yellow color. Then I lively orangey. And once again, I can paint inside up too much. And I can probably reattach and change it to yellow. Properly reduced your passage. I think that's too much. I can also reduce the opacity of the outline. Now you can create clipping mask and steeple is another way to add some texture to this tab and some noise. Either want to do that too much to just apply a little bit of this effect. And then you do exactly the same for the darker color. So we've got something going on which is consistent with the Stam, is consistent with the branch. Now once again, we create this layer and then we add this line tab. I'm ready to merge the layers. Then I can multiple select the layers and the groups, and then group them in a group and call it fat plant. Lastly, we can duplicate the flower stem group, collapse into one layer filled with white and clipping mask becomes white. Merge this layer, you can see that the stamp that was white. Now we duplicate the flower. We feel the layer with black. We clipping mask. So now we have the patrons there are black, so the stem is wide and the flowers is black. You can move the flower a little bit because you want to simulate some casts shadow. If you click the mouse, the flower with the stem and the name, you got a shadow. So now you can play with gumption black, and possibly reduce the opacity of this layer. So that's an option, that's an option to create a shadow. And lastly, we want to clean out. Maybe it's better to calligraphy which is called a finite t. And I can simply erase. I made the mistake to merge the outline wave, the painting layer. So cleaning up is a little bit more difficult. And this is the plant. And this is a long and complex illustration, is now completed. 10. Procreate Pencil: In this lesson, we're going to paint these pods. Here. We're going to choose a pencil brush this time, which is a procreate pencil. We can reset the settings, says Default Settings. I'm a big fan of this pencil, I think is really powerful and I really like it. So we're going to start by choosing a color. We can choose the red, the issue kind of pinkish color, quite deep, quite dark. So we create a new layer. So we have a 100% opacity, so full of passage. And I'll start making these sort of outline. We want to play a little bit with the pressure, even if we go a 100% capacity, the brush settings as some pressure. So if you press on the screen of your iPads is gonna get darker. So I point to create these base. I don't want to feel the shapes as we did for the other illustrations. We're not going to create any layer. These illustrations going to be done onto one layer only. So I can put down the first color. Now, I'm not going to move the color and I just want to shift towards the green color. And I'm going to do this step. Do it in the same way. I want to make the outline first. I really liked this brush to be honest. I think is really cool, is flexible. You can get some really, really nice. I can put down on the left-hand side of this. Putting these two together, I can now with your passages. And I went to this dark color on the right-hand side of the stamp. You don't want to press on the screen on your iPad is just face up to effect. We can actually hide them. We can focus just on these plants. Is very convincing. It looks like I just want to outline, I think is quite nice to create some details along the body of the stem. The lightest green color, we can add some highlights. So I cannot keep on painting. As well as your passage. I want to sort of sort of very thin. So I'm not pressing too much on the, I just want to add this new color. Now I think I can move back to this part. And to feel a little bit more. And I can go, I go back up with your passage. I just want to remember that light is coming from the upper left hand side. And then with this new color, I'm going to add this town. And I can go back to the dark and dark shadow passage. And I keep them. I want to add some texture which connects back to the line. I want. The same thing that I did for the same processes I need for the stack. We started from the base. So here when I create some texture, I want to add some details. I want something happening along the surface of this part's quite nice, is looking good. Now I feel I wanna go back to the stamp and I want to put some highlight to this. So I'm not going to create any additional layer. So everything will be done unto one layer or layer. So I want to paint the buds in the bag. Before. As I did before. Part on the right-hand side, I'm gonna make it darker. I don't want to make it to dock next to the bad. Otherwise they would match together. We want to keep the lines have just behind the bottom front. I will switch into the bright pink. And once again, I'm going to add this layer of color displays like in the old paint. And then blend does him with a dark color. Once again, I select. Anyone, I can actually move the pallet onto another layer. Probably move the arrows, Wow, that's a reminder that light is coming from the upper left hand side. And then we color harmony using the analogous option, I can select the adjacent colour. I know that these two colors, they go really well together with this new color. Just to make this upper part the actual pad. As before, I'm going to make the outline. And then I will Colorado day inside. Once again, these brushes really convincing. I really like the effect is one of my favorite. I will probably do another course specifically using these brush. Then I moved onto these. Now you are familiar with this process. And I want to sort of twisted. I can start from the other side and I can go from left to right. On the left side, can also sketch out. And once again, I can make it darker. I can switch back to the first color. Because I want to, as we did before, we started from a base color which is dark. And I can move to the other. Because what we've done so far, I want to make the twisted. Then I can select the brightest. And then we keep using the same treatment. We want to create some structure. And you also notice that if you put these light next to the dark town, just next to it and create more volume it create more details. And I want to go, I want to highlight just tiny bits of lights onto the base color, onto these, as you can see, fairly subtle and not pressing at all on the screen. Right now, as usual, I can try to duplicate so the colors get more, pay, more saturated. And I can lowered your passes you off the layer. I think there is too much a 100%. And I can move around halfway down, so 50%. And I can merge them together. So you find hide the drawing. I can get something like this, I think is really, really good looking is really going up towards the right direction. And as I did for the other drawings or will not create an outline. For creating an outline, I want to choose a darker color. I think that would be created with this pencil. I want to reinforce clean up. I don't want I want to play with the pressure a little bit. This is cleaner. On the other side of this plant. What we want is to outline each element we're going to use the elements we're going to use, in this case. Green. And I want to also add some clean up, which is I don't want just a tiny bit, but not too much. And also want to add some dark strike along this ray. Now it's time for the path. I sample the pink colored purple color and then I go darker, not too much. And then I start defining this shape. You can see that I don't treat the lines consistently. I go darker in some sport or ego lines are in some others. So they will create some color dynamism. We're going to do twisted petal. Just wanna fix. It's not just the final highlights. And this is it. Now the bads are completed using these really nice pencil, which is the procreate pencil. 11. Technical Pen: In this lesson, we're going to use the technical. We want to create an outline for each element. Is a very straightforward process. Yeah. Right now the outline is done. I can create a new layer. And what we want to do is to paying the cast shadows from one bad on to another. So we need to think about which bar will cast a shadow. And then paying the shadow is with the solid plaque. I want to find out what the shape of the baths which are a little bit spherical. So now there's a bit of a shadow on the right-hand side. Just a tiny bit. These shadows. Then we can move to the branch. We can make it darker towards the bottom of the branch. I can fix that. Actually, there are some shadows as well. So I just want to reduce the brush size to be about 3%. I can create a new layer. And what we want to do is to create a hashing which is a series of parallel lines. So we want to kinda following the volume of the shapes. So as these bots are sort of a bloom gains its sphere is, we want to follow the volume, we want to follow the shapes. So we're going to create the skier but shot with a series of parallel lines. And we're going to make these for each part. You can differentiate a little base or you can create some variation. And you want to make the space between the lines can be a little bit different from one part to another. I think I'm going to speed up this process is quite repetitive. You can always decide is self-explanatory. So what we want to do, because it's quite long. We don't want to make straight lines, but imagine that we would follow just parallel lines to the top. And now we want to create inside these paths. You can follow the volumes. So now we can create an additional two triangles. So once again, we can introduce these. The same principle. As you can see. On one side, gets a little bit more. The main branch on the left-hand side of the triangles as well. And that's it. That's the line I want to move the outline on top of everything. I can create a new layer. I now switch to why and what we want to do because we are on top of everything. We want to pay in some white lines to painting some white lines, we're going to create the sort of effect. We want to go perpendicular to the lines. And we want to create some highlights. Same concept because the lines cross and the same for the branch. This could be an option. If we want to add some illustration, we can create a greenish bluish. If you want to make you feel inside. Mm-hm. We just painted pinkish color. The last one. So these base colors. And if we show that painting, we need to move the colors on top and switch them to multiply. So you're gonna get something like this. Again, because the scale is a bit too small, it gets darker, less. So for the time being weekend, just hide the spikes. We can now create two soft brush. We just want to, we sample the color that we want because like you price slightly lines. And then we are quick bras strike. So we're gonna get some lights towards the tips of those petals inside the body. And this is a, this is another option. We have it similar to a printmaking technique, can be a liner camps as Cray boards. It's not for everyone, may be. If you like it, that's an option. 12. Flicks Brush: In this lesson, we're going to focus on this blonde hair. We're going to use spray paint, so it has a different style. So first of all, we want to do the outlines, so we choose a light green. And on a new layer, I'm gonna make the outline for the leaves. I just want to be smart about the creation of layers. So I'm going to create a different layer for each leaf days in the back. So we want to be able to paint each individual leaf without affecting the ones behind. I create these live here. So in this case I will create another layer for this leaf behind. Say when I spray on this leaf, is not going to affect the surrounding leaves. As well as for that would be done onto a different layer. I can do these on the same one. So basically as long as they know overlapping, they can be on the same layer. Then I can just feel with this light green. Then I would obviously create a new folder, leave behind. And then I can move on to the side here. And I can move on to these branch here. And then we fill in the shapes. Now, I can create another name for the remaining leaves, specially 123. And now I can do these leaves here. And there we go. So that leaves on now than they will have different days. Now we can reach to a brown color for the branch. This is going to be a little bit easier because you would be 1 lay only small, straightforward and that's confusing. When I create the outline for the branch. We're going to ignore for the time being that has all the little things that are popping out from the branch by we're going to pay in the roots. We will fade the spot. But for the time being, we want to create a solid shape. And then we move towards the bottom of this branch. And we can close the shape and then quickly are these remaining branch. Right now we need to hide the leaves as we are not sure if we close the shapes. So I actually did. Sometimes 2nds might not be joy into, so the field option doesn't work. And I going to pay in the store branches here, all stems. And I start from the top and I go down and I join the two ends. So the base layer for this branch is now done. So I can now move to the roots. And you can see one of my ear catching some light from a sunny day in London. So we played with the pressure a little bit. So we want to apply some pressure at the beginning of the stroke and then we release the pressure. If we do that, we get logcat tapered stroke. So you press and then release and you get the spine a stroke. Now I can share the leaves. And now I'm going to create a new layer because I want to pay in the flower here. Then I can create another layer for the flower behind. I can now select the branches, create a new layer, and create clipping mask. And what we want to do is to select fleets flicks. So sort of a spray paint effect. So you create something like this. I think I want to go to a 100% opacity. Now I select these brown and I want to go to a dark at town. Sorry, it will be a dark brown. And then I can simply pay and with these new brush, I can add some shadows on the legal branches. Shadows that come from the leaves, and the cast shadows or contact shadows around those spots. And then also, as you can imagine, roots would be dark. Then I want to reinforce a little darker tones at the bottom of the branch will make it darker at the base of the flowers and at the base of some leaves. So if we hide the drawing would be something like, if I can now reduce the brush size, I can add some little details, a little bit more precise with this brush. So with these fine brush, you can to add details. Now I can switch to the calligraphy scripts. I can create a new layer. And I want to create the pilot for this illustration. I reselect the brown color and if I shift towards the yellow spectrum, I can then create a new layer because I want to add a light. I can switch back to spray paint. We're going to add the styling here. We create some volume. Now I'm going to add some lines to this smaller branches. Some strokes also to the roots. Not do much maybe, but just to create some colored dynamism. And now I can go even brighter because I'm going to add voice calls, some specular light, some reflection. And now what I want to do is to do the same thing for the leaves. Are going to assemble these like rain, I wanna go.com because I want to create a dark cat. Shift doors the blue slightly. And then I'm going to create a clipping mask layer for each of those leaves. Lay is now that we have these Don Greene, the spray paint on the leaves, I just went on a slightly bigger so we get something similar to the branch. And that's the reason why I wanted to create different ways. So when I Pang, these are more in control. I can treat them almost individually, but without having too many layers. Right? So I think I can move now to this live. So if you want to identify what you swat, you can simply toggle the visibility. So you just show and hide the layers. It will be just a waste of time to rename these layers because we create layers, we manage them. So you can simply toggle the visibility and you understand straight away which layer you're painting on. Now I want to pin this lives here. Now I can move on to this group of leaves and also these. So you can see that I'm applying just a few strikes, not too much color. I want to concentrate was the base I'm gonna make it dark matter was the base of the leaves. And I just don't want to paint too much towards the tips of those leaves. Now these, and finally, those leaves here. Now I want to switch to the calligraphy script. I want to add these color palette. I'm going to switch back to the lies of green. And when I go lice, shift towards the yellow spectrum. And then this color to the palette. Now I can select the dark spray paint of the branch, and I can now play around with the layer modes. I think coloured ban works really well because it gives this red dish Town. And if I just cycle through them, I think that colour band is the one that I like. Maoist Just wanted to reduce the opacity. And then I can do the same for the yellow spray paint. Anything screen would work. Well, I just want to reduce the opacities lively. Because I'm running out of layers. I want to duplicate my artwork. Then delete the other plants to delete a layer you swipe right and you click Delete. And when we finish this illustration, we can simply copied back to our original document. And then I can create a new layer for each group and that would be used for the bride spray paint. So we're going to start from this one here. We can simply spray paint towards the tips. So we add this lighter Town, which is a mix of green and yellow. Now we move to these layer here. We can do, now we can move to this group of leaves. And with a few stroke, we had these new color. Right? Now we are on the left-hand side and we treat these leaves exactly in the same way. Those leaves here. And then the leaves at the top. Right, so that's done. All we want to do now is the flowers. As we did before. We can create two layers for each of them. And we can also create a clipping mask. So the lower layer would be for the dark color and the upper layer for the bright. But before we paint the flowers, I want to change the layer mode, but this time, instead of choosing color bad, I will choose linear ban. And I'm going to do these for each of the dark layers, reducing your passage is lively. Now for the bright spray paint, we can choose a screen. Screen. Also, we reduce the capacities lively screen around 90%. Right now, we can move to the flowers. We're going to start from the darker, darker, and then we want to add this painting also some casts shadow from the flowers in front. And we want to do the same for these flower. We can switch to color band straightaway, reducing the capacity at patch. And then I can paint in with the brighten on the related layer. Now what we want to do, he's the outline. We want to create a dark green. And then we are these color to the pilot. Now we want to do the same for the brown color. We make it darker. And then these two, the palette. And we'll do the same for the flower. I select the path for color from the flower, go dark. And then these two palette. Now we're going to start from the branch. So I can sample the darkest brown. And we can try this ink bleed. I think these brush goes really well with this illustration because the ink has got some sort of texture of some sort of grain. So you can see there is not a uniform stroke and I think he looks good next to the spray paint. So we're going to use these new ink brush ever going to create the outline, but also some details. I'm going to speed up this process a little bit more. You can always choose to slow it down. Now it's time for the roots. I would treat them in the same way and we create the outline. I just want to make a decision which one is on front of the ADA. So we can give the impression that interlacing split. And then we get to the end of the branch. Now what we want to do is to add some details to some lines. It would follow the areas in the dark. Lines are going to reinforce the fact that the shadow is that. So we can give the impression that Dewey's cylindrical objects. And now what we want to do is to create a new layer with the dark green because we're now ready for the outlines for the leaves. You can actually see the difference in tin. You can spot the green line of the leaves. And also you can see this is not a realistic plant, slightly stylized. So there's a bit of an interpretation in terms of shapes. And obviously also these shading technique is not realistic. And then we create the outline for this remaining leaves. Thus the last one certain now we've got the branch with the outline. We have the leaves with the outline. And now what we want to do is to draw the mid lines. So we want to create a new layer and we simply draw a midline align that goes in the middle by it doesn't reach the end of the life. You want to release the pressure. So the strikes get type ID. We're gonna do that for the remaining leaves. Something quick, you can into the line and the way we can do this one here. So the last thing we want to select, the dark purple or violet, create a new layer, and simply create the outline for these flowers. Can be similar to clouds, like one of those shapes are like blobby shapes. And then some in ten lines. And that's in this could be a style. So we want to merge the outlines together. Also the leaves, the flowers, and the branch. We can also merge the palette together. We unlock the drawing and we deleted. Now we rename these spray stroke, spray leaves, then spray flowers, and then spray branch. We can keep the palette and rename into spray palette. Or you want to do now we want to go back to our original document. We want to delete. The layer is related to the plants that we just painted, is going to paste our illustration. So we delete the layers. We go back to our illustration. Now we want to swipe right and make a multiple selection. We move the layers inside our document but we don't release. We click on gallery. Then we click on our document. We open up the Layers palette, and then we release. So in this case you've got the layers important. Now. You want to make a multiple selection and group them. And in this case, we can rename the group into spray plant so we can hide the palette. And another illustration with a different style is now done. 13. Bonobo Chalk: In this lesson, we're going to pay into this flower here, and we're going to use a new brush, the bonobo 2K. If we select these and create a new layer, we can test the brush. And he gives these effect, which is really, really cool. Now we can choose a color. We can go for something that we didn't use. We can choose these light blue. I would probably want to reduce the brush size. And then I start painting. I'm going to create as usual the outline first. Then I can color the enzyme and I want to be quite gentle on the iPad and don't want to press too much. I want a SubTwo effect. And when it goes lively darker on the right-hand side. Then I can move to the PESTLE next to this. And we're going to create the other petrol in the same way, so we have a base color. So you can see that the capacity is halfway down in the middle is about 50%. And this is what we want because we don't want a very solid color. Painting the PESTLE. And then the one in the back. Now we do these two small petals here. And now we have these base. Now press enough to have a 100% capacity color. So I want to put down the first color palette. Then I can shift towards a bright blue and probably changed the colors lightly. And with this new color, I want to pay in the bright part of this flower. So I'm going to stop from the middle part of the Haskell. And then I tried to blend these in. So I'm going to add the color to the petals. As usual, we want to use a low capacity because we want to build up the tones. Now we can place the scholar. We switch back to the darkest blue and we could even darker. We want to reduce the brush size. It. We're going to add the sort of outline. I really like this brush, I think is very versatile, is like the procreate pencil. Obviously they both have a specific look at specific effect. But if you after an artistic effect, I think these two brushes like great. I'm going to define the outline for the flour. And also I'm cleaning up the margins of the petals. The last password here. And now I want to add some small details inside. And I can use these to you basically pay a base. You define the base color, you can add some lies at o and some dark at town. Then you can make an outline and then at some details. So you can see that following this few steps, you can get a nice illustration. And now I want to add some striations on the pencils. Something not too strong, something not to present, but I want to play with the pressure so I can get something gracious. I want to also add the circular line at the base of the Pashto. And now if I hide the drawing, I can bet to clean up the flower. This color palette. Now I can switch to the brightest blue, make it brighter. And then I want to add some highlights. So it's basically the same technique that is used for almost all day illustrations. And this principle is valid also in traditional art. For example, if you paint with oil paint, you would follow this exactly the same process. You would start from the dark tones and there you would move up towards the brightest. Now you want to sporadically these reflections. Now if I switch to the Eraser tool, I can select the hot air brush. And I want to clean up the perimeter of the flower. As we went through before, as we seen before. Cleaning up is quite important step for a nice illustration. I can now show the drawing and I can actually unlock hits. I just want to detach this flower from the plant just a little bit. So it is not part of the same plant. Now we want to create the green palette for the stem and the leaf. So we can shift to a very bright green. And because we want to use the same value for the flower, we're going to sample the callous from the Petros, and then we shift towards the green spectrum. So we ensure that the value stays the same. So it means the luminosity of the color stays the same, but the u changes, so the color changes. So following this method, we're going to create a palette for the leaf and the stem. I can actually move the pilot at bay. Now we switch back to our bonobo and we start defining the stem. So we approached the in the same way we did the flowers. And we're going to create the outline first. And then we can start coloring up the stem without applying too much pressure. Is like using a colored pencil like a client. So you wouldn't apply too much pressure on a piece of paper by you would go lively until you build up the tones that you are after. And then it makes sense because the developers and shy, they best to recreate the effect of these traditional tools. So these digital tools, they behave the same. Now I can do the leaf. And then as usual. And then I would come in and just want to reinforce the green layer. And then I can move on. So once again, you can see the take some time to do something. We don't want to rush through things. Now again, to reinforce the green layer. On some additional pint. Now I can select this second column and then I just want to add to these additional Green Town. And then once again I can create the outline. Then I'm going to make the outline. So you can see that when the leaf means the stem, the stroke gets dot-com. And this is because I wanted to create some tension. You want to modulate the line in order to have your drawing, your illustrations more dynamic. Now I can show that drawing and I can create the outline for this part of the leaf days kind of flipping. So I can carry on, we might outline. Now I want to move back to the base of the flower and add some details. I want to increase the size of the brush. And I'm going to apply this dark hat. So it's going to be dark because he's a concave shape. Now once again, I moved to the bottom of the flower. And I'm going to add this doc at tn. And then I can do the same for the long stem. Is also a tilt effect from the bonobo brush. Now I want to change color and wanted to go towards the brighter side of the palette. And I'm going to add these light green. I'll do the same for the stem. And now I can move to believe. I want to blend colors together. We now using this much, I just want to play with the pressure. So we give the impression that we are blending, but we actually coloring defined some light areas like details on the leaves. And now I think we can use the darker color we have. And then actually we need to go a little bit darker. I feel in the dark and green here to be similar to the dark has blue of the flower. Now when I go back to the original brush size and I want to this details. So we're gonna get something similar in look to The Blue Flower. And we're going to create some outlines and then some details inside. Now I can move to the leave out some details here. I bet to define the TPP. And then I go back here because I feel I12 some additional details. And I wanted to enhance the roundness of the shapes. Now we can select the brightest green and again, we're going to add some highlight, especially near the mind genes near the edges. Spec you to lie along the stem. Now we just want to cut and paste the pilot on another layer. Then we hide the pilot. We can duplicate the layer is usual and as usual, we want to reduce the opacity. So you can see a looks better, it looks nicer this way. We are merged the layers together. And finally with the monoline Eraser. Again, just clean up day illustrations. We just want to make it a little bit tight and cleaner. We probably want to fix this area. And then we had a calligraphy is created which is sensitive to pressure. We can be a little bit more descriptive. And this is it, this is another flower done for this illustration. We use the bonobo brush and I really enjoyed it. 14. Wet Glaze and Water Bleed: In this lesson, we're going to pay into this plant here, which is a magnolia poured, and we're going to make a water color. There are several ways to make a water, Karla, and what are we show you here is one of them. So we're going to use wet glaze for our water column. We're going to start by choosing a light brown and light orangey reddish color. Going to create a new layer. And we're gonna get something like this. So that's the effect. We also going to use water bleed. And if we test the brush, that would be the effect. Now I can delete them, create a new layer. Before we start painting, we want to duplicate work. We want to merge all the existing illustrations and delete them. Now we want to create a new layer. We place it underneath that drawing and then we can start painting. I'm using the calligraphy script. We're going to pay in the shells first and then we move to the seeds. So we want to create the outline and then paint the inside. Now we can create a new layer. And we move to the second shell. I'm going to do these for these two shells on the right. Then I wanted to create a new layer for each of them and also create a clipping mask. So we got four layers and full equilibrium masks. Now, I want to select one of my watercolor paper. It's got these grain. I can copy the watercolor paper, three fingers down copy. And then if I go back to my illustration, I can swipe three fingers down and do a test. And I do paced. It's clipping mask, so I just need to unclick the layer. So I just want to move and resize the paper, but I don't want the gradient to be too small or too big. So I need to look at the drawing and think about their grain size and then scale it up or down. Then a very important step is to choose the correct layer mode for the paper, because the effect of the watercolor is mainly given by the paper. I think in my case, Linear Burn works best. I just want to reduce your passage of the drawing layers lively. Then I want to put down the first column of our palettes and asked to be above that water color paper. Now, I select the first clipping mask. I use lively, darker. I choose wetlands. I want to reduce the size and I'm going to start coloring with these new brush. Now we can select the second clipping mask and do exactly the same. This brush is quite sensitive to pressure, so we have to get familiar with the intensity with the pressure that we apply. Some of the cast shadow from the shell in front. And when we painting the Fed shell, as you can see, it's already convincing because the paper helps a lot. Now I'm going to pay in the fourth shell. And I can now add the second color palette. Now we want to go even darker to dark brown. We aren't this Karla straight away. You're going to start from the last show that we painted. And we select our water glaze. And we're going to paint with this color here. Basically we want to reinforce or when done with the second color. We don't want to pay in too much with this dark brown. You just want to pay in the dark shadows and the area that we can see that the darkest. Now we move to the second shell. We are the cast shadow. Now I feel I want to reduce the capacity of this brush as its two dot actually. And then I keep painting. Now I want to create a layer at the bottom of the stack and a clipping mask. Then we select the brightest color that we have in our pilot. We switch to the calligraphy scripts. And then we're going to create the remaining shells. So you can see the, some of them have the seeds inside and some others are steed closed. And for each of them, we want to create a layer, end equilibrium mask layer so we can pay them individually. So this is an open shell but no seeds inside. So we're going to make the inside on another layer, choosing a dark color. Now want to unclick this layer, then create a new layer for the base, because I want to start painting with a wet glaze. Now I switch to the dark and brown. Can actually move the pallet on top of the drawing. Then if I select the related layer, I'm going to add these brown here is quite dark, casts a shadow coming from the shells in front. Now I can create a new layer and create clipping mask for the inside part of the shell. And obviously here we'd be dark compared to the outer part of the shell. Then we can create a new layer. We switch to the calligraphy script using the brightest color we have in our pilot. And we're going to pay in these shell here. We can do also the other half is a bit of an opening there we can see two seeds. Once again create a new layer. So we can color bean side. Then we need to unclick the mass. Then as usual, we can create two layers into clipping mask. Then I select the web clays. But before that, I think I want to move the pilot then so the it's closer. I select the meat town. And then I start from the inside. I'm going to make the inside darker. And we switched to the darker color and then we create some casts shadow. No, you really need to pay into behind the seeds because the seeds would be painted on top obviously. Then we moved on the outer part of this shell and we are the Scala. We'll make it dark at the base because obviously there would be more shadows where the shells are nested. And then we do this using the dark has brown. And I'm going to reinforce the margin of the opening. Then we can create a new layer, switch to the calligraphy script and do exactly the same for this shell here that we pay in the other half. As before, we create two new layers into clipping mask. We can now switch to a darker color. Switch back to our wet place. And then once again we switched to the darkest brown campaign, this cast shadow here. Now we can switch back to the midtown. Apply this layer, let's call it clays, and then apply these dark. Now because I don't want this lesson to be too long. I'm going to speed up this process a little bit. Otherwise it gets too tiring as you will be more than an hour long. We're going to treat the remaining shells in the same way we've done these ones here. So you can always slow down the video if you want, but it's quite self-explanatory. So we're going to create a shared with the calligraphy script. We fill in the shape than we are that the second darkest color and then the third darkest color. And this is for each of the shelves. Then when we have an open shell, we're going to create a layer for the outer part and a clipping mask. And another layer and another clipping mask for the inner part. Okay, now this is completed. We have done. Now we want to duplicate the palette. We can move them a bit and then we select hue and saturation. Use humor to slide 2s, the green color. Then we duplicate them again because we want to create the palette for the actual seeds. So again, you in saturation, and this time we select a red colour. We can increase the saturation and decrease the brightness so we can get a more intense color. Now we want to create the outline for the seeds. So we select the drawing layer, we place it on top a 100% to pass. And when we switch back to normal, we can now select the calligraphy script and will meet don't read. We can start making the outline on a new layer. As we did previously for the other plant, for the spray plant, we want to be smart about the use of layers because we don't want to paint overlapping seeds on the same layer. Carry on with the outline. And I think I can now create another layer and I can make this one in the back. And then I can fill in the shapes. Sorry, switch back to the previous layer and I'm feeling the remaining shapes. Now. I can hide the drawing. Then I can reduce the opacity of the layer and then erase the past that need to be raised. And this is because we don't want to get too crazy about the placement of the layers. So sometimes it's just easier to arrays rather than trying to find and trying to understand the layer structure. I can delete these parts of the seed. The seed at the bottom. And also this part. Now we switch back to 100% capacity and reach to the other layer. And then again on this layer we're going to erase the overlapping bits. Then we switch back to a 100% capacity. So the base for the seeds is now down. So that means that we can create two layers and we create clipping mask, one for each group. We wet glaze. And with the midterm red, we're going to paying the seeds. I just want to increase lines, signs and quite gently ongoing pain the seeds, keeping in mind that they have a spherical shape. I can move to the second C, Then I can pay in some casts shadow from the seat in front. Now going to move to the third. You can see that I start from the cast shadow and then I release the pressure when I go towards the center of the seed. Now I'm going to select the darkest red we have in our small pilot. And I'm going to add this darker color. Two acids is basically the same process that I used for the shelves. So we started from a base color, we went dark and using the darkest color. So we just want to paint the cast shadows or despots that we believe are in the dark as area. Now we're going to use this dark red and we're going to paint in the remaining seeds. Now we can simply switch to this munching tool and select Web plays as a brush. And we're going to blend what we painted so far. We simply want to resolve the margin, the paint just under the bay. Right now we select the other clipping mask. We also select the meat tone, right? We stopped painting the remaining c's. We're going to approach them in the same way. We are going to apply your meat time faster than the dark has Fred. And then we blend a little bit. Again. I'm going to speed up this path slightly as we went through the technique already. So it's just about painting the remaining seeds. Now it's time for the darkest red, and I'm going to apply this. Now we can move the watercolor paper on top of everything. So E affects also the seeds and rename the layer into watercolor paper. So you can see there's a big difference if you turn off this paper. Now we select the seeds layer and we apply some brightness. So just a little bit, we just want to make them in brian sounds lively. And we do the same for the other layer. Now we create a new layer. We can actually move the pallet on top of the watercolor paper because we want to have some solid colors. We select the brightest red. And then we go Bryce out. Now we select wetlands. And because we are on a new layer, we're going to apply this highlight color. As usual, we have to think about how the light would interact with these objects and place the highlight accordingly. Now I can use this tool to the margins of some of the lights. And then these remaining highlights. Now I can duplicate these highlights. I can apply a bit of a I think he does, is just the sum to effect really. Now I can create a new layer, create clipping mask, select the darkest red, and then I want to reinforce some areas with this color. Now, I select the lightest read, the speech to almost white. I can merge the highlights layer and create a new one. So with this new one, I just want to make as high night. As you can see, the white is more intense. The area is just more alert. So I just want to make the actual reflection the, the actual specular light. And now I can create a new layer on top of the shelf. Layers. Select the brightest Brown and again go almost white. And this is because I want to add some highlight also to the shell. So I want to add these quite bright, pained on the shelves. As usual, not too much. Just a substitute effect IS good there we add some highlights. This process here would then be possible. Because we watercolor, you have to go from light to dark. We wouldn't be able to go the other way around from the darkest stones to the lighter ones. If we did these traditionally, the only way we could apply some white Carla is using some GWAS. We wouldn't be able to apply a White was a colour because white in watercolor technique is basically given by the paper. Now we can hide the drawing. We can duplicate a pilot and shift the EU. And we're looking for a brownish, greenish color for the Stam. Before we paint the stem, I just want to check our many layers have got available. So if I go to cameras information and then layers, I can see delays use 65. So that means that I don't have any available layers. And again, that means that I need to merge some layers so I can merge the highlights together. I cannot should emerge this seats together. I can actually also merge all the shells together. So they will be just one layer. I can delete that, can move the drawing on top of the watercolor paper. I can also merge the palette, right? So that's the shells, That's the highlights, the seeds, seeds highlights, and the watercolor paper. I switch back to multiply for the drawing, going to create a new layer. I place it underneath the shell because I now want to paying this dam. So I switch to the calligraphy script and I make the outline of the stem. You can see that magnolia pods, it's got quiet, fix them. Now what we want to do is to duplicate the watercolor because the paper is not big enough to call for the illustration. After we duplicate these, we can just simply move it down. And actually we can have one watercolor paper for the stem and another watercolour paper for the pods. So we can just simply erase the past. They are redundant. So we can move these down and we can actually keep you must these, the paper will affect only the Stam. Now we can create a new layer which is clipping mask straightaway. And with this new darker color, we can emphasize the dark side of the study. And you can see it's quite convincing as opposed to catalyze quite pleasant. Now, these are the green and we want to add this color because it's more vibrant and right now it's time to paint with. Now we select the brightest green And again we make even brighter. And this is because we want to add some highlights to the stem. Now we can select this managing tool and we can blend in this highlights. Also we can create a new layer and now we can switch to water bleed. Water blame is a new brush we haven't used was bleed before. And what we want to do with this brush is create some fine the OK to create the midline for the shells. Because some of the shelves are closed as some of the shelves are open, but when they closed there's something going on around the mid line. We can also create some tech shadow. So there's something going on over the side effects of these shells. Just tiny details. For the existing shells. I want to rename this layer into details. Now I can select the darkest green and I can do the same for the Stam. So I'm going to add some details and some details coming from the surface, from the texture. Again, I can rename these into details. So I'm going to create a new layer. And we also keep you must delay is related to the mass, the high night related to the seeds. And I, we move down the details of the shells. We can now switch to flakes and we're flicks. We want to add some additional details so we select the darkest brown. It would require big brush away too big. We're going to apply these texture here. And what we want to do is to reduce the capacity down to be around 25%. So you see, you can't see, but it's there. So it create some noise and create some disturbance. And it's always good. And we can do the same for the stem. We select the dark and green. We applied the flakes, and then we lower down the capacity. And with which these to darken, which works quite well. And these two multiply. I can reduce the capacity even more because I don't want the effect would be too strong. Now I can select the brightest green going from Brian's her. And we're going to add this flicks with this brighter color. Now can reduce the capacity again. Now I can create a new layer and apply the white flecks on the POD. Again, when we lower down your capacity to be around 25% of 30%. Okay, this is done and what we want to do now is to duplicate watercolor paper and then clipping mask, one watercolor paper to the shelves, and one watercolor paper to the seeds. Now I can create a new layer. I can switch to black. And we can now create the outline using the technical pan. Obviously, you can keep your Woese localized cities. The inking is noise essential because we want to be consistent with the rest of the illustrations. We're going to apply this and see if we like it. So we have a very small brush size and a 100% to passage. And as we did before, we're going to create the outline for this illustration. We're going to break up the lines here and there because we don't want a constant line. We're going to detail all the elements in this illustration. And then we can make a choice and see if we want to keep it. Again, I'm going to speed up this process as is quite long. So now I can hide enrolling and create a new layer because I want to create the details for the shells and the seeds. For the closed shells. I'm going to define the meat line. You don't want a straight line, but more like irregular. We can carry out some details. Now I go back to the closed seeds and I want to add a line to simulate the fact that the seeds are known to be closed. You can see something. So I want to add this lines and this will increase the level of realism in details. Now I can select the pod and create a new layer. I came back to the calligraphy script. I select the dark as Brown and I want to make this area darker. That's now really point to use a musical for the spots that we can just use the calligraphy script. Then I also do there's one here. And now going to add some details on the scenes. This is similar to what we've done at the very beginning of the course with the second illustration. Again, these inking is not necessary, but if you like it, that's an option. And normally like it very much to be honest. Now I create animation layer. I switched to white. And then once again, I want to reinforce the highlights on the seeds. And I can apply some goals. And I think it's fine. I just wanted to reduce the opacity of the higher nights halfway down into the same p, I can create a new layer. Do some highlights on the stem. Once again, I can blend this out. And we can consider this long and complex illustration completed. And what we want to do now is to import this illustration into the main artwork. In order to do this, we want to duplicate this artwork so we have a safe copy. So we swipe left and duplicate. Then we open one of them. We can delete the pilot, delete the drawing. We can match the ink layers together and we move it on top. So basically we organize the stack as we want to merge all the layers together. So we can merge the stamp, including the paper. Then we can judge the shells, which includes the paper, and then the seeds. Now we have four layers. We can rename them. We can simply call them stem seeds and then ink. Now as we did before, we make a multiple selection by swiping, right? We move the layers over the artwork without releasing. There we go back to gallery, we select our original artwork, we open up the window is palette, and then we can drop the layers that, and this is now important. Now we can make a multiple selection again and create a group. And we can rename a group into watercolor port. And this is done, this quite login complex illustration is also completed. The watercolor is a very nice effect. As you can see, it takes a lot of time. 15. Carbon Stick and Peppermint: In this lesson, we're going to paint these flower with a carbon stake. Carbons then gives these Effect. What I normally do when I use this brush is to reduce the scale of the grain. Then I reduce the brush size. I can select a midtown green. I can create a new layer. I just want to check the number of layers available across six in there, not too many. I can now check the brush size. This is fine, and I can start painting with these new brush. The canvas stick is one of my favorite brush. As usual, I'm going to approach the drawing, making the outline first and then I can gently apply this fast lays of color. I don't want to apply too much pressure on the iPad. I just want to have thin layer of colour. So we shall consider that these brushes cause some tilt. So that means that if we pay int, we depend at an angle, the brush size is different, changes. So if I want a Finns strike, I have to pay in perpendicularly. So I can now put down the first column for the pilot. Now we can go sliding Brian, we can actually change the colors to harmony and choose analogous. So we can increase the brightness. And I'm going to apply this brighter color. Then I can choose the adjacent column and apply these other kinda analogous. You have a set of three colors that they go really well together. They sympathize with each other. So what I'm doing is lightly Hinton by my hand because I need to pay in perpendicularly to get like a sharp stroke. Then I can add the second color. Now I can choose the standard color mode and go for embracing green. With this new color. I'm going to add some light to the stem. Now I can duplicate the layer. I can merge these together. I can create a new layer. I switch to peppermint, which is a great brush. Then I switch back to the dark green goo, even dot-com. And I reduced the brush size. And I want to make the outline. So peppermint is similar to the carbon stick because they're both f grains, you can get something sharp by something clearer. So I'm going to make the outline, New Brush. Fine. Odd some small details alone. Something going on on the surface. Now, these color to the pilot. And I switch back to the SDK, because now I want to paint the leaves at the bottom of the stem. So as I did before, I can start by making the outline. And then I can call it again without applying too much force, too much pressure. Then I switched to the bright green. And applying the second. Obviously, when you pay in something, you want to be consistent. If you paint the stem in a certain way, it makes sense that the other parts are painted in the same way to get the same effect. Now switch back to the brighter color. And I want to reinforce this part of the leaves. Now I select the dark green switch back to peppermint. And I'm going to define the edges of this plant. So I think the communistic is great. But if you really want to do something precise and something clean along the margins along the board doesn't not surely is derived brush. You might need to use another brush to make the margin sclera. Okay, and we add some d this along the surface. Now we select the carbon steel with the midtone green and we're going to pay into the inner side of this leaf. I can do the same for the other leaf. Now I switch to the darkest green, and I can apply this darker tones towards the base of the leaves. Now switch back to a brighter color. And I'm gonna make the tip of this belief rise. Now I select the outlines layer and I'm going to apply in these additional strikes. Then a bit of a mid line. Now I can duplicate this layer also. I can probably reduce geoprocessing halfway down. And then I can merge these two layers together. Now I can switch to a bright green because I want to pay into the lights. I can add these brighter color. And as you can see, as soon as you add some lie, the illustrations getting nicer. It makes more sense, right? So if you hide the drawing, the image gets clearer. But we want to clean this even more. So we switched to raise it with the hot air branch. We're going to clean up the margins. Once again, cleaning up is very important process. So don't underestimate that because he's not a waste of time. Now we can create a new layer. We place it underneath the stem. And we're going to pay in this part of the flower. So it's not going to be different from what we have done so far. We applied this dark color. Then we switched to the Bryce and green. Then I go back to the dock at time because I wanted to make it Dhaka at almost the base where the spot is next to it. And I also want to make it slightly darker on the right-hand side and on the petals because of the cast shadows. Now I can duplicate these in Maine delay and I just wanna reduce slightly capacity and match these together. Now I'm going to add some lights or some highlights. So you see, you can see I'm also trying to create some texture, some surface variation. Now I can select the outline layer, switch to peppermint. And once again, I'm going to make the outline for these new pot. Now I want to define some Cephei status could be had, can be anything. We just want to add something going on over the sine of phase is very important. Now, I can rename these layer into dog peppermint. Just want to check the number of layers available. Uh, we add three. So not too many reading. So I think we're going to make the petals onto one layer only so we can create a new layer. We select the green from the stem, from the plant, and then we shift and we can choose a red color are intense. So that could be a midtone. So if we switch to the air brush, we get a 500k opaque color. Now we want to create a dark and time which is similar to the dark and green. Maybe now we want to shift. Was the orange spectrum. Go Bryce and get this bright at town. Now we switch back to the carbon stick. And we're going to start painting using this Brice had Carla now. So as you can see that the brushes cause some tilt. So that means they, if I paint at an angle, the brush size gets ydA is like tilting and actual pens or you would, you would pencil, you would color with the side of the lead. Right? Because it's going to be a quite repetitive process. We're going to focus on one pixel only. And I'm going to speed up the process for the remaining pentose. Otherwise it gets too timing and the video gets too long, and it's difficult to find out. Okay, so this is the base. Now we switch to the midtown, the Scala to our petal. Once again, we can make it dark. Co2 was the base of the petals and then release the pressure to get some lighter tones towards the tapes. Now I can take advantage of this field option. And then I can move to the remaining petals. Right now we can select the brightest color palette that we want to go even brighter. This is because we want to add some lines at times 2y and distraction. And we can do these remaining pentose as well. We also want to create some stria on the petals. Now we can create a new layer. We switched to peck. We select the darkest color and once again, we can create the outlines. Now for the remaining petals. And then I can also add some details. Now we can select this red goo even brines outline for the petals will reduce your pastizzi. And we manage these down. We can now create a new layer. And the bright at town, we're going to define what we've basically done with the dark outline. What we want to create some details about the style with a bright at town. Sorry, my desk is a beat one bling. And I continue on doing these details. Now if I hide the layer again, I can clean up the petals. Right? So the cleanup process is now done. I can share the drawing, check how many Les is available and known. So that means that I need to merge some stuff together. I can manage the green bits together, and they can also merge pedals together. I wouldn't match the outlines. And now I can switch to peppermint and select the meat tone color. And I think I want to go slyly, orangey cuz I want to make a differentiation in color. And we're going to pay in the stamens. Stamens are these filaments and the bits at the top are called OMB. First. I'm going to start by outlining the filaments fast. And I would do these with the peppermint brush because I wouldn't be able to do that with a carbon Stieg as you would be to Raf. Why would the pet them means? That can be more descriptive. Now I can create a new layer. I'll switch stake or want to choose a, an orange color. And then I'm going to pay in the office like this, sort of a blobby bits. Now I can go slightly bright out, probably more yellowish, and then I will pay in the central part of the, now I switch back to the filaments layer and I'm going to call a domain. Then the last one. Now I want to on the color for the filaments. And then if I go, if I wanted to create the outline for them, now I can de Scala to the pilot. I select the brines that color for the filaments again. And with a pet domain, I'm going to define even mode the body of the filaments. And I wanted to make the center. And now I'm going to make the statements that I am going to follow the same procedure as I'm going to speed up this process. Right? So this is done. And what I want to do now is to pay in the pet whose DAP behind the filaments behind the stamens. Brush. I'm going to define the shape fast. I can move down this layer and then I can fill in the empty spaces. Now I can select the doc has spread, which is actually more brown and red. And I wanna make it dot-com banks where the field admins are all nested. Now switch to the brighter red, which in fact is more pink rather than red. And now I'll switch back to the darker color because I want to define the genes of the petals. Now once again, I want to paint a DMD bits for the filaments. We can hide the drawing. One to define some areas and bits here and now because I'm running out of layers, I can create any more layers. I want to duplicate these artwork. So we swipe left and do duplicate. Then we can delete the other plants and flowers. So we want to keep just the carbon flower. Right? So here we are. We can now duplicate the pentose in the back, the ones in the front, and then merge them down. Now we can create a new layer. We switch to an orangey yellow color. We select the carbon stick. Then we increase the Gita. Gita, basically randomize the position of the brush stamp is, gives the slope of a scatter effect. And I want to use these brush because I want to create an NMOS out flour effect. One of those wispy flawless. So again, I'm going to pay in from the center to the outer part. And now I can shift to a more orangey color. I can probably create a new layer and a clipping mask that so the color doesn't escape. And I just want to make the hours have part darker. Now, I create an additional layer. I switched to an almost white colour. And with the peppermint brush, I'm just going to add some white bits. Now I can merge some layers together. I'm going to merge the unfairness. Then I can move down the petals and I can merge the pencils. I can duplicate the PAG goes now. So you can see that the colors got more opaque. Night. Just wanna fix the pilot to have them in one way only right? Now I can duplicate the outline of the stems, reduced your passage a bit, and then merge the layers and do the same for the outlines for the petals, reduced your passage of the layer bits and then merge them together. Now I'm going to duplicate the filaments and then merge them together. And this is done. The illustration is now completed. What we want to do now is to copy all the layers back to the main, Our work. So we can select the main artwork. We can delete this flower here because these layers need to be replaced with new ones. We just need to double check how many layers we have available, which is seven. So we go back to our illustration. We can count them. So we can delete the drawing. We can make a multiple selection by Xp Yp in, right, we move delay is over the artwork, then we press gallery and we go back to our main artwork. We open up the Layers palette and we dropped delay is. And here we go. Now we can make a new multiple selection. And through the layers and rename the group into pepper min flower, which basically carbon stick would be more correct. And this is the carbon stick and upper main branch demonstration is now completed. 16. Acrylic Brush: So we are working on the document which has less layers, so we have more freedom. We got four flowers here. We're going to work only on three flowers using three different painting brushes. We're going to start from the brush. We can choose a color or we can switch to harmony. Want to make sure the brush is reset to default settings. We have something like this. So I want to reduce the size of the brush is fine. And I want to start from this flower here. So I wanted to show you that using three different Russians, we're gonna get some things similar between them, but obviously not the same result. So you can see the opacity of the brush is set to a 100%. But you still have the sorts of building up effect. Actually when I reduce the opacity of the drawing layer as again, B2 distracting. So I want to put down on the first color for our palate. Then using the analogous color wheel, we can select the adjacent colour, which is these kind of purple or violet. And then I want to add the Scala towards the base because it's a darker color. I want to place it at the base of the pestle and we will go lies out towards the tip. Shade these towards the top. And again, now I can choose the other color for the tip of the pencil, which is a source of a reddish pinkish color. So we want to reduce the size. Say I can be a little bit more descriptive like this brush, that result is very imbalanced, witty. And I wanna go back to the original color because I want to pay the other part of the flower. We always have to keep in mind that the cylindrical shapes, so we must be able to kind of get these cylindrical. Then again, I can choose the adjacent and agreeing to these sorts of blue. Now I switch to a brighter color. And the one to define the volume of these flower. So you can see that E takes longer to get a proper shading. But I really liked this brush is quite powerful and I'm sure on a bigger scale, you can get something quite interesting. And I want to define some tech shop along the path of shadow you from one part of the flower onto the other. Then I can duplicate. The layer, gets moved field, and then I can reduce the opacity is fine. Now I want to make the internal power of the flower. I can light pink. And we're going to do fine on the right-hand side. And some cast a shadow from the patch tool onto these closed pestle. And I want to increase the brightness of the highlight. We want to duplicate this layer and reduce the capacity as we did before. Now, on the new layer, we can pay in the inner part of the petals. And I think I want to make it even dot-com. Now I want to select the original color and then shift greenish bluish color. And I want to pay for these flower. Now we can go.com and again, we're going to paint these new cars on the right-hand side of the stem. Once again, I select the original and then I create a new layer. And I went to some highlights. Now we can use this much and we can decide to use exactly the same brush. So we know that we have the same sort of effect and we want to reduce the drop size. And also the passage of this brush. Now we can merge the flowers layers together and we keep on munching. We wanted to do the same for the stem. We want to, we want to blend these painting strikes. Now we can create a new layer. And we want to define a Remus. So we can switch to the round brush, which is a quite opaque brush. We can set down your capacity. And with this brush we're going to define the margin of each element. We are going to make it remains for the Paxos. And then the Stam can also add some little details inside. Actually, we can hide the drawing so we get distracted by the patron's inside. Nothing here. I can sample the Scala and then I can refine that area. Then I can define the bottom part of this flower color. And then I want to go back to the darkest color that we have for this painting. And again, I want to increase the level of details along the surface of the pedals. Now I can do the same for the stem. So you assemble these aqua color. We can go dot-com and then define the structure also of these stem. So we have a bit of something going on along the body of the stack. And now we want to screen and then on some highlights. And then finally, define even more. And this is the equivalent demonstration is now done. 17. Jagged Brush: Right, for the second flower, we're going to use the jacket rush. Jacket Branches. Quite an interesting brush is quite rough. But the way we want to use a, we set down the size of these brush. So we create a new layer. Two, we are going to get something very similar to the acrylic. It would be in a way different obviously. So we're gonna start by creating a new layer. And i'm going to approach these and the very same way as I did for the acrylic flower. I'll do the an outline and I put down some color to create the base color. So as you can see, we have 100% capacity and these brush is more aggressive than the X-ray Lake. If you make a comparison, you can see that the pressure here is more present on the canvas, so you can get something quite dark and deep straightaway. Why would the acrylic, there's a bit of a buildup process. So again, I want to make it the base. I can sample the colors from the accreting flower so it's consistent. So I can add these pink color and I'm going to blend it in with the existing dark pink. Now I want to sample onto peak, quite dark violet. Now I want to go right, because I want to start defining the light area where the highlights would be placed on top of this. Now, I want to do exactly the same for the other part of the flower, for the other PESTLE. And then create the base, which is the perimeter itself, because the tones slightly darker than the password on the left because the one derived is not catching as much light as the left. Then some dark color. And again the one to slightly draw some texture. Quite Doc. I can duplicate this layer. And once again, I reduced your path B and I can merge these two layers together. Now that I create a new layer, I want to make the backside of this. And now the central paths with the same color. And we are these. Hi. And once again, we can pay into stem, so we create a new layer and we color green. And now a little bit of the dark green. So I think this is fine. Once again, we can switch to the round brush. We can select the dark purple. And then if we create a new layer, we can define our painting a little bit. And we see the after we refine that it will look better. So refining is always very important. Refining and also erasing, cleaning up is very important. So we never defined too much what's going on inside the flower. Now we define the base and let it be more. And as well for the Stam. And that's it. So if you hide the drawing, you can see that this painting is also done. And you can see the difference between the acrylic and jacket brush. 18. Gouache Brush: Okay, in this lesson, we're going to use a brush cooled quash. Washing traditional art is assaults of 500k also catalyze kind of opaque or transparent as a real music. But it's not too opaque as an acrylic paint. So let's say it's an in-between between these two cameras and was Hannah and acrylic paint. So first of all, we want to create a new layer, and we want to use the same color used for the previous two flowers. Then we select the painting library and we scroll down until we found crash. So we're gonna get something like this, which is really nice. You can see there is some grains as well. So we want to do these flower here, so we need to reduce the brush size and then we can start painting. So you can see the opcode, a 100% to pass. This brush is sensitive to fracture. So that means that I go quite gently. And we want to define the outline first. And then when I'm happy with the shape, I can fill this. I don't want to apply too much pressure. I'm going to make his line, was the Bayes as is consistent with the flowers that we painted. Then I can sample one of the dark as powerful from the other flower. So basically we can use these existing flowers as for our palate. So I can now add these additional color. We can see that we are creating some shading already. Know I'm going to reduce the brush size and I wanted to add some stria passion as well to the PESTLE. Now I can go towards a lighter color. And then I am going to use the Scala towards the tip of the pencil. Carry on with this brighter color. And I think this is fine. I can select the base color again and probably define the TPP even more. Now I'm going to paint these in the same way I do the outline first. Then I feel I can probably increase the brush size of bits. Then once again, I'm going to make the right-hand side of the patch tool, which is if you see the deconstruction wouldn't be the bottom part, we should make sense. Now I can select one of the brightest scholars from the existing flour. And then I would probably want to go even brighter. And the night keep painting with these lies. Now we can select this pale pink. But before painting the patrons in the middle, we're going to duplicate the existing layer, reduced your passage, and then merge them together. So now we can create an additional layer because we want to pay into this path of Cl. Again, we're gonna make it on the right-hand side. We want to go even Bryson. I can sample the colors from the other pathos. And then paint is in. We can create an additional layer we use now we want to paint the stem. So for painting this time we pick the greenish color from the other stamp. So I'll create the base for the stem. I'm going to make it a little bit darker. Put the brightest screen that we have for the stem. And this is because we want to add some lines. And I'm doing the same for the dark S1. So I can select the dark has color from the other flower, and then I can add this perimeter. So you can see that these three flowers have been treated in the same way by using obviously different brushes. So now I select the pestle, I create a new layer. I can select the round brush and selecting the dark as green and pop-up liquor even darker. I'm going to UPS, I need to reduce the size. I want to refine the flour. Same thing for the pencils. And I'm going to define the edges of the shapes. Now I'm going to emphasize some strife and move to the other petrol treatment for this password here. So you can see that you pass of this brush is pretty low, doesn't have a massive effect. And I can make the perimeter. Then I can duplicate the layer, reduced capacity as usual, and then merge them together. I can now make a MOOC was election swiping, right? Make a group every name the group into wash. Now we can get rid of this. And also this flower is done. All we can do now is to duplicate the groups so we can keep a safe copy of them. Leave them one on top of the other. Flattened layers, and then rename the layers. So the first one from the bottom would be quash, then jacket crash, and then acrylics. So once again, we can make a multiple selection. Delays. All the decomposition, go to gallery and select our main artwork. Open up the Layers palette, and then drop the layers. And now you have this additional layers important. Now I can just adjust the flowers. I can resize them as lively or reposition them. But that's essentially done. So we have now completed I illustration. 19. Finalising Painting: In order to finalize the course, we want to clean up and merge some layers together. Especially we want to merge the groups. Are we want to do these on a duplicate of this our work, so we keep a version with delay is intact. And then another version we can flatten the layers. So as we want to duplicate, these are where we go to gallery. We swipe left and we do duplicate. So now we have a copy. Now we can rename the original artwork into original. So we're not going to do anything on their artwork and rename this duplicate into flattened image. Now we can open the layers and we click on the terminal and then we select flatten. So basically this function mergers the groups and the layers together. And if there's a hidden layer, for example, our palate inside the group and then we flatten a group, the hidden layers will be deleted. Now we can do the same thing for the watercolor, but before flattening the layers, I've got the feeling that I want to make the water color a little bit brighter. So I'm going to select curves, slightly moving up the meat tones so the shells are getting Bryson. And I think I want to do the same for the seeds and the stem. And then I can merge them together. Then when it's one layer only, I can adjust the saturation. And then I can merge the group together. And at this point, I can rename the layer into watercolor. Right now, part of a flower seems to be fine. Now we call spray planned. If we open up the group, you may want to select the flowers. Then you can decide to change colors, for example, using the slider. Or maybe you want to increase the saturation. And obviously you can do the same thing for the leaves or for the branch. In my case, I'm increasing the celebration of the trunk. And then I can merge the layers together. Now I can also rename the layer into spray paint. Now I can select Inc. plant. Basically these, I can flatten the group, rename it into ink. Then the procreate Penzu bad, which I really like that, emerge the layers together and then rename the layer into procreate pencil. Then we can select the group for the fat plant, also called succulent. And now we can flatten the group. Then we can rename the layer into air brush a. Now it's time for the oil plants. I think that we can flatten the layers. We can skip over imposing color, shading that bottom part of the plant. We can rename the layer into oil brush. Same thing for the flower pink. We can flatten the layers and then we rename into spray paint. Now the flower red group, we can flatten this out and then rename it into soft brush, which is the main brush that we used for this little flower. And as well as for the water color. I've got a feeling that this flower and needs to be price. So I select the curves and just raise the meat tones because I want this Bryce hell. And again, we can play with the colors, but I think we're going to keep the red ration. Now it's time for the seats. So we can flatten this out. And we can rename these into hard brush, which is the solid air brush. I think that this needs to be a little bit more saturated so I can increase the saturation level and it gets more vibrant. And then this final group, which is the Stam, after we flatten this out, we can rename the layer into airbrushed too. And this is now we have all the groups that have been flattened out. And now we want to fix some stuff here and there. For example, we can move some flowers or we can rotate them or all we can scale it up or down. So the thing is that we want to create, we want to find a nice balance between the flowers and find a nice layout. So for example, I can move and rotate at the same time this pet admin flower, so it is not too close to the engine. Probably the quash flower slightly. I can do the same for the jacket brush. Then I can move the water color towards the bottom of the layer stock goes under the oil plant. Can actually move these red flower and as well as the bonobo flower. Now, we want to fix some other stuff by instead of erasing using the eraser, we can use a mask. So we click on the firm now and we create a mask. So a mask is a white layer linked to the layer below. And if we're going to pay him with a black color, we're going to hide things. And if we go into pain when the white color we're going to reveal, begin to show things. Now using the mask I can hide the lower part of the stem are, as you can see now, using some why'd I can reveal some part of the stamp. And obviously if I use the erase out, that wouldn't be possible. Now with the mask lay selected, I can apply some Gaussian blur. And as you can see, I can better fade the mask. Just wanna lie than the unhappy with the amount. And I think this is fine. Now I'm going to apply some mass to some layers that need to be fixed. Like here. I can paint in the Mosque and then use some Gaussian blur. I can do the same for the spray paint. I can create a mask. I can choose Medium airbrushed this time. And I'm just masking these ends. Now again, some caution blood to make him more like consistent with the other illustrations. Now it's time for the oil brush painting. I'm gonna create a mask and paint the bottom part. So it looks nicer. A bit of caution blur. Now the saccule and plant, the fat plans, we want to fade out the bottom part of the plant. I can probably reduce the brush size. Then if you make a line but you holding down the pencil at the end of the stroke, the line gets straight. So you can make a straight line by holding down the pencil at the end of the strike. Now you can Gaussian bled these. Now we want to pay this little branch here. And this one here. A bit of the ink just lightly to be a bit more consistent. Now we can create a mask for the procreate pencil. Just want to brush a little bit the bottom part. And now we can move towards the top part of the oil plants. I can actually change to a bigger brush. And then if I holding down the stroke, the line gets straight. Now I just want to separate the flower from the oil plants. So these consists of three separate flowers. Then you can continue applying some adjustment of exemple do, move the bonobo Flowers, Elizabeth. And this is essentially done. So now what you want to do is to merge down the masks. And this is the illustration is now completed. 20. Ideas for a Background: Right, we are at the end of this course. So this is the final artwork, but because all of these elements have a different style, is little bit difficult for the illustration to work as a whole. If this illustration was painted with one method, one technique only work really, really well. So you can imagine everything down with the watercolor effect or the procreate pencil. And it would look really nice. Okay, now we have these layers here. If we select the first drawing of the background, but the first one, we can import our paper background. So you click on gallery and I've got a collection of papers that you can download from my website for free. And I can select this one here, which is a sort of a cardboard texture, which is really nice. It's kind of a recycle distress paper. You can do three fingers down and then copy. So we go back to our work. And then three fingers down and then paste. Then we can try to import a lighter version so we can import this one here, three fingers down copy. Go back to the artwork. Three fingers down paste. Right? So this is slightly smaller. So that means that I can make it bigger. I can transform the size. Just a tiny B just to cover. Then tie our Board. And again, it's a bit difficult to find a paper they can work with all the style present on this page. We can actually sharpen this background paper just a tiny bit to see more of the texture or the details coming from the paper. We can do the same for the dark paper until the grain is more visible. We can actually hide some glands and focus on two or three of them and see how we could paint the background. So I think we can keep the watercolor poured, the procreate Penzu buds and the plan now with the air brush. And all three of them, they work well in both dark and light background. So let's try something out. We can select the pepper mmm brush instead of the procreate pencil, I can create a new layer, switch to a light blue, and then paint with this color. So I'm going to add this colour towards the left-hand side of the drawing. I just want to simulate our b of the sky. Then I can switch to this tool. And with a soft brush, I'm going to reset the set things. And I'm going to use the soft brush full blending. I reduce the brush size a bit and then I can blend this. Obviously if you use is soft bronchi going to lose the texture coming from the Pepin mean brush. Then I want to choose a Bryce and I create a new layer. And then I thought these brighter color. I go Brian. And then these addition. Now it's time for smudging these n as m on a new layer are not going to impart the blue and the naive. Then as usual, I can try to duplicate the layer so the cameras get more opaque. I can merge them together. I can try to duplicate the white layer, maybe too strong so I can reduce the opacity and then I can merge these together. And then if you have a background, ladies, you can change the color and you can try and different options. Okay, so let's say we're happy with a blue background. We can now try to do a different thing. We can try to are the shadow behind the bonds. So I will choose a darker color, no black bat almost. And this time I'm going to paint on the other side. Now I can switch to this munching tool and I can blend the shadow but also modify the shape. I can drag the color a little bit. So that's a different style and it looks good. Now let's try to do something with the watercolor. We just want to move these a bit. Then I can create a new layer. I can place it underneath the port. I can select wet plays from the water library. I can switch to a light blue. And then painting with this color, playing a little bit with the pressure. Now against which to the blending tool using wash as a brush. And then I'm going to blend to simulate some wars have. Now we want to create a new layer, switch back to wet glaze and then choose a brighter color. Then I want to add this lies a coulomb and different layer. And now I can switch to a dark. And these on the right-hand side of the port. Smudging again. Now I can merge these two layers together and as well as for the bads, I can try to change the background color. And let's say that we cannot happy with this original color. What we want to do now is to apply the watercolor paper texture to these background. So I'm going to copy the watercolor paper. I go back to my artwork, three fingers down. And then I used, then I switched to multiply. And I reduce this eyes lively. I clip in masterpiece. And because multiplying makes the image slightly darker, I want to increase the level of brightness, and I also want to increase the level of saturation and maybe changed the colors lively. So we have now this aqua color, now using liquefy with a bigger brush. I, you think I want to fix the shape of the background slightly. So that's a perfect tool to do something like this. And then I can now move to the fat blonde, which was painted mainly with the air brush and with the same tool we're going to do the background so we create a lay underneath. We shift color this tau, we go you towards a very bright violet. Then I select the soft brush, and with this very big brush and green 2pi in the background. When I choose a license and then paint. Now at this point you can. So that could be an option. But let's say that we're happy with that. So we create a new layer. We can create a clipping mask. Then I can select the Flix brush for adding some texture. I can test the size of the brush. And I think I wanna go a 100% or passage in a slightly bigger brush. And then I just want to apply in these first layer of spray paint. Then I can switch to color band and then reduce the capacity of this layer. And this is it, this is another option. 21. Conclusions: And here we are. At the end of these classes. During the course, we learn a variety of techniques and use many brushes. We started from the hard and soft brush, obtaining different looks and styles. We implemented some surface noise using the Flix brush. Then we change the style completely with the oil paint brush, getting some more painterly effect. We use the hot air brush with very low passage ED's time demonstrating that even with a simple brush, you can get something quite realistic if you want. Then we use procreate pencil and we achieve that very fascinating and convincing results. Again, something totally different in style when it came to use the calligraphy script or the small stylized spray paint work like in this case. Then from the sketching library, we use the bonobo chalk, real enjoyable using these brush. And the watercolor tried to imagine an entire illustration than in this style, that would be really cool. Then we use the carbon stick and the peppermint brush for this charcoal illustration. And lastly, we use three brushes from the painting library, the acrylic, the jacket brush, and squash. And this is it. I hope you guys enjoy the course. If you have any questions or doubts, feel free to being touched and I wish you all the best and see you next time. Goodbye.