Procreate Watercolors: Let's Paint Roses & Create Botanical Designs!

1. Welcome!: Have you ever wanted to achieve that stunning organic watercolor look Improprit? The one that feels as expressive and textured as traditional painting. Yep, I have been there, too. Hi, I'm Silvio Spina, I'm an artist and designer based in Barcelona. Over the years, I have painted with traditional watercolors and digitized hundreds of assets to create designs, patterns, postcards, wedding invitations, and Waart. When I got my iPad, I became fascinated with replicating this technique digitally. And after lots of experimentation, designing custom brushes, and creating unique textures, I have finally perfected the process, and I am very excited to share everything that I have discovered with you. This class will dive into the art of creating vibrant digital watercolor roses in procreate. I'm going to guide you step by step through the techniques that make your artwork feel rich and textured, just like traditional watercolor. I'll also share my favorite brushes, including some that I have designed myself so that you can experience the joy of painting with watercolors digitally. As a bonus, I'm going to show you how to save your work into your image library and create a stunning plural composition, perfect for creating greeting cards, social media posts, wedding invitations, or even wall art. This class is ideal for artists, designers, and hobbyists looking to create watercolor assets for art and design projects. Whilst basic knowledge of Procrits interface is helpful. No prior painting or artistic experience is needed. If you're new to Procreate, you can start by taking my class, digital Illustration, a beginner's guide to Mastering Procreate, where you will learn all the tools and functions in depth. All you need to take this class is an iPad with Procreate installed and willingness to experiment and have fun. Before we dive in, make sure to follow me here on Skillshare to stay updated on new classes, giveaways I host and stuff like that, and I'll be thrilled to have you join my online community. So get your iPad ready and see you in class. 2. Your Class Project: First of all, let me just say how thrilled I am to have you here in this class. Your project is divided into two parts. Part one, you'll start by creating a beautiful set of watercolor roses, leaves, and small plants using procreates, and I will guide you in every step of the process. At the beginning of each lesson, I will demonstrate each technique in real life so that you can see how pigments behave in traditional watercolor and replicate that feeling digitally. As you create your roses, you'll likely end up with several visual versions that you can activate by making your layers visible or invisible. Some styles will be more loose and some others will be more detailed. So if you're a for it, I would love to see them both. If you use the glazing technique, don't forget to show me how your acids look in different tones for different seasons. The second part of your project is to create a final composition using all of your botanical acids. This is where everything is going to come together. I am excited to see how you combine your paintings into a beautiful piece. To help you focus on perfecting your composition skills, I'm going to provide five quotes for you to incorporate into your designs. You can create one composition or several. The more the merrier. Once you have finished your project, upload it to the class gallery as I can't wait to see your beautiful work and hear about your process. To make the learning process smoother and more enjoyable, I'm going to provide a few resources for you to download. In the next lesson, I'm going to walk you through each of them to help you get started. 3. Getting Your Class Resources: For this class, I have provided a few resources that you can download. I'm going to start by showing you the propriate file. This is an A four file which should work well on any iPad regarding their size or capacity and provide enough layers for this project. If you want to have a larger file, by all means, go ahead and make it larger in the Canvas settings. This file contains two folders, one with a few watercolor paper textures, and the other one with some drawings for you to trace and make the learning process easier and more enjoyable. I want to take a moment to explain how I set up my watercolor paper texture. This setup has worked really well for me, not only for watercolor paper, but with any texture like canvas, recycled paper, and other types. Let's open the cold press paper group, which is on top. We have three layers. The first layer counting upwards is set up to linear burn. If you zoom in and set the opacity to 100%, you'll see the paper texture clearly, and this is the layer which I usually have at a lower opacity because of how strong it looks. Second layer is set up to color burn. This layer will make your colors look brighter and a bit more saturated. And the third layer is set up to soft light, which gives a bit more of light and contrast to your paintings. A recommendation I have is that if you're running short on layers, you can discard the top two and just leave the one which is set up to linear burn. Color palette. For this class, I have also provided a watercolor palette with a few sort of neutral colors in case you'd like to use it. I like to use these colors because later in class, I can superimpose brighter and more saturated colors or change them fully to make these plants look seasonal. But you can also choose your own colors if you prefer. Now let's move on to the brushes. Have included a brush set with the brushes that we will use during this class. This is a reduced set of a larger one that I will provide as a digital product available for purchase. Now let's go through each of the ones that you're going to get. I'm going to create a layer on top of my group to test these brushes and show you what they do. The first brush is the blotch shoid that I use for various things. First of all, I love this brush to paint silhouettes when painting with watercolor, because the border isn't completely defined, which gives me a more natural look. But for a wet on wet effect, I make the brush larger, which results in a more loose border. You're going to see all these things later in class. The next one is the wet on wet brush, perfect for blending colors like real watercolors. I use this brush to paint larger areas when developing my paintings. It's great for mimicking the wet on wet technique. If I start with a light wash and then apply a more saturated color, it gives this beautiful effect on the blending on the paper as if the paper was damp or wet. See that if I zoom in the paper, these borders are very soft and undefined. This brush is also very sensitive to pressure. I'm going to paint this yellow area with a lot of pressure so that's fully opaque. Then grab a darker color, and now with very little pressure, I'm going to start creating this grading on top for you to see that without the need of modifying the opacity bar, I can achieve different levels of transparency depending on how much pressure I apply. With a lot of pressure, check out these borders. They are very defined, and the color is fully opaque. And with less pressure, you will achieve a very transparent layer of paint. Now let's move on to the smudge tool. I absolutely love using the blend brush to soften the paint that I already have on my canvas. You can blend colors completely, blend them to the white of the paper or adjust the size and opacity of the brush so that the effect is a bit softer and the transitions of the colors are not as strong. These two stamp brushes are not going to be included in the class resources because we're not going to end up needing them in this class. In the next lesson, we're going to start painting the base layer of our roses and leaves. 4. Roses: Soft Wash Base Layer: In this lesson, we're going to paint the silhouettes of our roses with a light wash. This layer will be the base of our watercolor painting, setting the foundations for the layers that will follow. Let's open the layer panel and start by making the roses layer visible and lower its opacity so that we can just barely see the silhouettes. Let's also set this layer to multiply so that the colors won't interfere with the colors beneath. I like to lock this layer to prevent myself from painting on it. Next, we'll create a new layer and place it below the acids layer so that we can see the silhouettes clearly. Let's open the brush panel and select the blotch silhouette brush. To paint this light wash layer, we're going to use a neutral pink. If you open the color palette, you will see this second swatch, which has a pink that is not too light or too dark. Instead of copying the rose exactly, we'll use it as a reference. Although I have provided these shapes for you to trace them, I want you to learn and practice how to paint a watercolor rose. This technique can also be used in real life. Usually, I start at the center with a smother brush and I gradually expand outwards until I reach the edges. I'm going to start painting these curvy shorter lines from the center, leaving these empty spaces which appear in a white color in between my strokes. I like leaving these white areas empty, as they will help me shape the rose when I apply new layers to it. Remember that this brush is also sensitive to pressure, so you can vary the size of your strokes with the pressure that you apply to your pen, but also with the size bar which is located on the left side of the screen. You start with thinner and shorter strokes in the center, and as you move outwards, you should start using longer and wider strokes. Once we reach the outer edges, we'll define the siloed with a smaller brush to define the borders, as we don't want them to be too loose or messy. Remember, we don't need to replicate the choid exactly. This is just a guide for how to develop a rose shape. Instead of having to color these white areas like this, we can use the color drop to filling them quickly. Once I have filled one area, I like to tap on continue filling and then tap on all the areas that I want to fill with this solid color. Lastly, you can adjust these white areas and decide how much white space to leave. A few small and very thin areas will be just fine. Now let's move on to the second rose using the same approach. Just to warn you, this is a bit more of a complex rose because of its position. This rose is looking upwards, so it has two frontal petals which will be lighter, and the central area which is in the back is going to be darker. This is going to help us build some volume. Going to start with small and loose curvy strokes to start shaping the petals, keeping them fluid and natural. Remember to leave a few white gaps in between your petals as this will help you a lot throughout the painting process. See how even if I am working on the stop area I'm making my brush strokes wider and longer as I reach the outer petals. I'm going to now fill these two central ones and then move on to these bottom ones. Just to warn you, this is the more complex rose of all three because of its position. No need to worry as I'm going to guide you step by step on how to develop this rose throughout the painting process. Okay, now I'm going to move onto the silhouette using a much smaller brush. Oh. And time to move on to the third rows, which is going to be throughout the process much easier than the second rows. It is good to start by checking the size of your brush so that you can achieve smaller and thinner curvy lines towards the center and make them larger and longer as you move outwards. Remember also to leave some white spaces in between your strokes as they will help a lot later on. For these bottom petals, you can lower the size of your brush and draw the cloud directly using the reference drawing that I provided. And if you want to change the shapes of these petals, please feel free to do so. I'm going to turn the background layer to black, and you can notice some transparency in these roses. This in real life is very normal and you actually want to achieve some transparency in your paintings. But in this case, I want to be able to use these roses over a dark background. Maybe I want to create a pattern or decorate a quote later on, and so I would rather make them fully opaque. So a way to fix this is to duplicate the rose layer several times until there is no transparency left. This step basically ensures that the roses can stand out even on dark backgrounds, which is going to be super useful when creating future patterns or compositions. Once the roses are fully opaque, we can merge them by pinching our fingers together over the layers. You don't have to name your layers. I actually barely name mine, but since I'm creating this class and I want to keep everything very clear and organized, I'm going to make the effort of naming them. I'm going to name this layer base layer. I'm going to turn this layer back to white, and I just realize that I'm missing my flower buds. So I'm going to activate the drawing again and basically repeat the process. I'm going to do it on a separate layer, though, because I've already done the process of duplicating the previous one and I don't want to mess it up. Once I'm done, I'm going to merge the layers together and make the background color white again. Take your time painting this first layer. In the next lesson, we're going to create the light wash for our leaves. 5. Leaves: Soft Wash Base Layer: My. In this lesson, we're going to do a similar process for our leaves. The first thing we're going to do is open the assets folder, unlock it, and activate the leaves layer. As I did with the roses, I'm going to lower the opacity so I can barely see it, collapse the assets group, and lock it. I'm going to make my roses layer invisible and create a layer on top, which I'm going to name leaves first layer. From the color palette, we'll select the second swatch and maybe make it a tiny bit lighter. This green tone is not too light or too dark. So if you're choosing your own colors at home, keep that in mind. It's better to keep the green neutral at this stage of the painting. Making sure that we have the blotch silhouette brush selected, and that we're happy with its size, we're going to start tracing these leaves. This time, we're not going to paint any strokes, but rather draw the silhouette and use the color drop to fill these shapes. Notice how I represented their shape. Some of them are facing down, some of them are more frontal, and others are angled. Having this variety within your leaves will help you a lot when using them to create future compositions, whether they're patterns, posters, decorating quotes, having this variety will make your artworks more dynamic. It is really good to observe nature to understand how to represent leaves and flowers in several positions. You can do this on a simple walk outside or watching plants that you have at home. Just take a moment to observe how leaves look when they're placed at different angles, how the central vein looks, and how are they connected, for example, to a central stem. And remember that at home, you don't really need to be too precise with these shapes. This exercise is just to help you learn how to draw these leaves and roses in a variety of angles. When painting this base layer, I like drawing the leaves first, filling them up with a solid color, and leaving the stems for later. Let's activate the roses layer so that we know where to draw the flower bud leaves. We want to draw them as if they were hugging these flower buds. Once you're done with the leaves, you can move on through drawing the stems. I like to adjust the size of my brush to a smother one when doing this. I also like to draw my stems curvy and not complete the straight as once more, they make my compositions more dynamic. I'm struggling a little bit to create this longer line. If that is the case for you too, you can help yourself by opening the actions panel preferences and increase the pressure and smoothing bars. This will help you create smoother lines. Once you're done, it's important to deactivate these options again as they will affect all the brushes in your library from now on. So go ahead and when you're done, turn these bars off again. That is so much easier for me. I have added a few shorter branches that you can choose to keep or discard. Plants often have these random bits of stem, and I feel that when I add them to my plants, they tend to look more natural. Finally, it's key to verify that this base layer is fully opaque. I'm going to duplicate this layer various times, merge them, and turn the background color to black. Now that they are fully opaque, I can turn the color back to white. Some of these leaves should go behind the roses, but the flower bud leaves need to be placed on top. So we're going to tap on the selection tool, choose free hand from the bottom menu, and enclose these leaves. Making sure that we're on the right layer, we're going to use three fingers down, tap on cut and paste and move this layer to the top. And that's all for the base layer of our leaves. Take your time developing yours, and when you're done, meet me in the next lesson, where we'll start developing our roses using the wet on wet technique. 6. Roses Wet-on-Wet: Saturation & Depth: O. Now that our first layers are complete, we're going to move on to adding shadows, volume and textures using the wet on wet technique, which by the way, is very common in traditional watercolor painting. If you have ever worked with real watercolor, you will recognize this technique where you paint with a watery mix over wet paper. When doing so, the pigment bleeds into the paper, creating the beautiful unpredictable results that are characteristic of the watercolor style. I'm going to start by adding a stronger color to the roses. So first, I will lock the base layer so I don't accidentally paint on it, create a new layer, and set it to clipping mask. I'm going to keep things tidy and name the roses second layer to stay organized. You can, of course, use any name that you want. Open the color panel and select this third watch, which is a stronger and beautiful saturated red. Although this color is quite strong, it is still neutral in value, not too dark and not too light. And so it will be stunning to make some natural paint effects. Let's open the brush panel, and this time, we're going to work with the wet on wet number four brush. Going to start with this rose, and we're going to start on the center. The center of the rose is usually more saturated and dark because there are more petals and shadows contained on it. And then as the flower opens, there's more light reflected on the petals, and so they look a little bit lighter. This brush is also very sensitive to pressure. We want to create soft shades, so it's better to use very little pressure and use it at a larger scale. You are not using the brushes that I provided, maybe you can try out the soft brush under the airbrushing collection. I'm going to start in the center using a smaller size of this brush, and with very little pressure, I'm drawing these curvy lines, once more leaving some empty space in between my strokes. The idea is not to cover the previous layer completely. And as I move towards the outer part of the rose, my lines are going to start getting longer. And look how quick it was to give some volume to our rose. In my opinion, it already looks really beautiful. Let's move on to our second rose. Since this one is a bit more complex, due to the angle, it is better to have the sketch visible. The two central petals are in front and should be lighter than the darker background, center and petals which are on the back. Having this sketch visible will make it easier to manage the contrast in between these areas. We'll start with a smoother brush, loosely adding some shadows on the center. Look how I'm taking in account the position of the rows to draw my strokes. This time, they're not completely circular, but they look like a flat horizontal oval. When trying to darken this back area, I realized that I left too much white space in my back layer, and because the top one is set up to clipping mask is not showing through. So I'm going to select the bottom layer, select the blotch Choid brush, select the light pink that I use for the first layer, and fill this area a little bit so that what I paint on top shows through. See how now what I have painted on top is visible. I'm going to go ahead, lock this layer and go back to the roses second layer to keep developing my rose. We're going to keep these two frontal petals lighter, and you will see that by keeping the back area darker and the frontal petals, lighter, we will achieve a lot of depth. The frontal petals can have a little bit of shading at the bottom for a more natural look. At this point, I'm going to deactivate the sketch for a second to see how it's looking. I think it looks nice, but I feel like these shades look a bit too strong. So now it's time to show you how the SmathTol works. I'm going to tap on the finger icon and check that the blend brush is selected. Applying very little pressure, I'm going to start passing my pen over the shadows to soften them up. I really love this tool as it helps me gain a natural look when my shadows or lights are too strong. It's good to work on it gradually and not overdo it. See how with a little bit of smudging, this rose is now looking much more natural. Now moving on to the third rows, we'll activate the sketch, make it softer, and make sure that we're on the right layer. Once more, starting with a smaller brush will work from the center and gradually increase the brush size as we move towards the edges. I'm constantly varying the pressure of my brush to achieve different sizes and soften the transitions. When two petals meet, the area where they overlap will naturally be a bit darker, whilst the petals that are more exposed to light will have lighter shades. So the contrast between darker and lighter areas will start giving the illusion of depth. It is good to start thinking about these things whilst painting. And once more, observation is key to realize these things. When you observe a real flower in detail, then painting from memory becomes easier. The contrast in between darker and lighter areas will start giving the illusion of depth. For the flower buds, we'll add a tiny bit of shading here and there. Now that this layer is finished, we'll move on to the second layer for our leaves. A 7. Roses: Adding Hard Shadows: These roses are already looking beautiful and could be ready to use as they are. They're loose but still have plenty of volume. However, since I want to show you different levels of complexity, in this lesson, we'll take it a step further by adding harder shadows and lights to our roses. In watercolor painting, playing with soft and hard shadows is key to making your artwork feel real and full of life. Soft shadows help everything blend beautifully. On the other hand, hard shadows add contrast and definition, helping shapes and edges stand out. We were working with traditional watercolors, this would be similar to the wet on dry technique. This means painting with a wet medium over dry paper to create more defined edges and lines. That said, towards the end of the lesson, we'll smudge some areas to soften the look almost as if the paper was still slightly damp in a few spots. Before we start, let's take a look at this rose photograph. One characteristic of roses is that their petals aren't always super rounded when they fall. They often have a bit of a straight line when they fold. So with this new layer of lights and shadows, we're going to try to create this effect. We'll start by creating a new layer, place it above and set it as clipping mask so that the shadows stay neatly within the row shapes. And let's rename it to Rose's third layer. You can also name it to Ross hard shadows. For the shading, we'll switch back to the blotch silhouette brush, but we're going to use it in a larger size. I'm going to open the color panel and select the fourth red, which is a darker, richer burgundy color. Let's begin by testing the size of our brush. This time, I want the brush to be larger. I like the borders because they are more defined than the soft gradients, but they still have a bleeding effect which I love. That said, I don't need the shadows to be too dark. If I were using real watercolors, my mix would be watery enough to see what's below. Always, it is better to start in the center and slowly work your way out. This brush is very sensitive to pressure, so you can apply more pressure in some areas whilst creating straight lines. Sometimes my lines will be curvy, and other times they're going to be straighter. Try painting in a soft, loose way and also try not to overthink it. You can draw your lines as many times as you want undo them as many times as you want. One thing I find very helpful is using my arm to paint these lines, not my wrist. Instead of placing my wrist on the screen and applying a lot of pressure with my fingers, I keep my wrist up and use quick arm movements to create the curves. You can try this out and see if it works for you. I want these shadows to be more defined, but I'm going to smudge them a bit in certain areas as if the paper was still damp. I think this will help me in creating a more natural look. Let's move on to the second rose. If you haven't finished yours, don't worry, pause this video and meet me back here when you're done. Remember that this rose is a bit more challenging. This rose has two petals in front, which should be lighter. While this could change depending on the light source, I want to present the light coming from the front. So the top part, which is at the back, should be darker and the petals in front, we're going to keep lighter. You can focus on adding these hard shadows on the top part, and you can also draw some thinner lines in between petals to accentuate their division. If your shadows are too strong, remember that you can use the smudge tool to soften a few of these lines. Before moving on to the third rows, I want to add more depth into this one, so I will layer in some more of these hard shadows. This time, I am applying a bit more pressure with my brush. So even if I'm using exactly the same color, it looks a bit darker. I am also trying to create thinner lines. I feel the top area could be darker. Else I want the shadows to be a bit stronger, I'm going to blend them a little leaving some hard shadows here and there. Take your time and once you're done, move on to the third rows with me. You will see how this one is much easier. I'll start in the center and apply more pressure to my brush to enlarge it as I move towards the borders. I want these bottom petals to be lighter, so I'm going to cover them less. If you feel that your shadows are too strong, remember that you can blend them here and there too, make them a bit softer. In my case, I want the rose to gain even more volume, and that's why I'm going to create a second layer of these hard shadows using the same red and applying a bit more of pressure to my brush. Lastly, I'm going to smash some of these areas so that they are not that strong. Take your time in this part of the process and try to enjoy it as much as you can. When you're done, meet me in the next lesson where we're going to add some hard lights to our roses. 8. Roses: Adding Hard Highlights: Now that we have some hard shadows, we're going to create some hard lights. First thing, I'm going to create a layer on top and set it to clipping mask. We're going to be doing something very similar than in the previous lesson, but using a lighter color. So I'm going to use the first swatch of the color panel, which is the lightest of all and increase the opacity of my brush to 100%. Always try to make the effort to not cover the previous layer completely. A few soft lines here and there will do the job. Once you're done, you can use demuch stool to soften a few parts of your lines. The key is not to overwork it. Let's stop for a moment and make these new layers of hard shadows and lights invisible. I love this version of the rose, but with these hard shadows and lights, you can see that this rose has started to gain a lot of volume. Towards the end of the class, you can export different versions of the same painting by activating and deactivating these layers. That is the beauty of working in layers. Let's move on to the second rose. I will add some light areas to these frontal petals and zooming out constantly to see how the rose is looking overall. Sometimes I can use a reference photo to do this process, but it's also fun to work without one because then you can just go with your intuition. See how this has brought a lot of volume to this rows. Take your time finishing the second rows and meet me back here to start the third one. Once more, starting the center with just a few short lines and then move to the edge with longer ones. I imagine that these bottom petals are receiving more light on them. Therefore, they should be lighter. Keep in mind that it's better not to overdo it. You can paint a few light areas, smash them a bit, and if you feel that there is some volume missing, you can go ahead and add a second layer of hard light. Once you're done, meet me in the next lesson where we're going to finish these roses by adding some dark ink lines to them. 9. Roses: Final Touches with Ink Pen: Mm. In real life watercolor, the technique of applying black ink pen over a loose watercolor wash is incredibly common and for a good reason, is absolutely beautiful. I really love this method because it brings everything together beautifully. The black ink adds definition and structure, yet it doesn't cover the soft loose elements of the watercolor beneath. So it's a perfect way to create contrast and definition while still maintaining the fluidity and freedom that makes watercolor so special. Let's start by opening the layer panel. At this point, we're starting to have quite a lot of layers. So to keep things organized, we're going to divide the leaves and roses into different groups. So select the roses, group them, name the group, and do the same with the leaves layers. Now the flower buds are a bit tricky because they're in separate layers. So I think it's better for now if we can just group them together. In this lesson, we're going to focus on the roses. So let's go ahead and create a layer and put it on top of this group. I'm going to name this layer as ink and open the brush panel to select the blush silhouette brush, which we're going to use in a much smaller scale. This brush maintains a natural flow to the line, and it is sensitive to pressure. So as you draw, I encourage you to start varying the pressure to adjust the width of your lines. I don't like using pure black ink for this technique as it is often too dark and the coverage is too opaque and desaturated. Instead, I prefer using a rich, deep color, which is why I'm using the last swatch left on the color palette. I love this dark burgundy color. You can start by testing the size of the brush, which in my case is way too large. If you feel like it, before doing your lines, you can practice creating a few lines on a separate layer in order to start understanding the amount of pressure that you need to apply to your pen to achieve different weights. Also, here's a little reminder to turn off the pressure and smoothing bars as we don't want to lose the kind of shaky and very natural look of the lines that we are about to draw. One thing that you can do before we start is to make the roses drawing visible, as that might help you a bit. Making sure that I'm in the right layer, I'm going to start once more in the center. I actually prefer to have my roses drawing invisible as it distracts me a little bit. See how this time my lines are curving towards the center, varying the pressure and creating some lines here and there. On some of the petals, you can create shapes like this one. These lines are highlighting some of the definition which is already underneath. So you can also follow the harder shadows and lights that you have done below to guide your ink drawings. You can also have a first attempt with these lines, and if you're not sure you like them, you can try again on a separate layer. Do this exercise as many times as you need until you feel comfortable. You can define the border in some areas and leave it empty in others. With just a few well placed lines, a rose is looking even more beautiful than it was already. You can go ahead and stop this video if you need more time to finish your first rose. Once more, I'm starting with the center where I'm going to apply more pressure to my brush to make my lines darker. I want this central area to be darker in general. This will make the two frontal petals come to the front. Sometimes you don't have to follow the exact borders. It is actually pretty nice when the paint is not so defined and some areas bleed into others. And I'm done with the second rows. I always feel that this third rows is super easy after doing the second one. Once more, I'm going to start in the center with shorter curvy lines zooming out once in a while so I can gain some perspective and drawing some organic lines here and there as I move to the bottom. You can define these bottom petals a bit more, varying the pressure that you apply to your brush. Once you're done with your roses, met me in the next lesson, we're going to add the final touches to our leaves. In the next lesson, we're going to do a similar process, but for our leaves. 10. Leaves: Final Touches with Ink Pen: In this lesson, we're going to move on to our leaves and follow a similar process. As we didn't give any hard shadows to these leaves, we're going to apply this ink pen on a light color and on a dark color to give extra volume to our leaves. We're going to start by collapsing the roses group and creating a layer at the top of the leaves group called dark ink. Once more, instead of using black, we're going to grab the very dark grayish green color that I left in the color palette. It is the last swatch and it has worked really well for me. I'm going to adjust the size of the brush so that it matches the size of the lines of the roses. We're going to start adding some darker lines and then move on to adding the lighter areas. You can practice a video lines by creating a layer on top and drawing a few curves, varying the brush pressure to achieve different sizes in the same stroke. And whilst doing so, you can also pay attention to the different levels of transparencies that appear as a result of the pressure that you apply. This exercise will help you gain control and feel more comfortable when drawing the details of your leaves. I usually start by applying little pressure, and then I increase it as I reach the end of the leaf. I feel this line is quite dark, so I'm going to lower the brush opacity. I'm going to repeat this process, and I think this is much nicer. After drawing the central vein, you can go ahead and draw some shadows towards the outer part of the leaf. If you're struggling to place these lines, you can go ahead and activate the drawing template, as I think that it might help you with the direction of the veins. I prefer not to have my layer active as I like to draw things fresh, but they might give you a hand. Before moving on, we want to create a layer for the light ink. This way, you can start experimenting with drawing lines in the two tones and see the effect that they each have. For the lighter lines, we're going to select the first swatch I left in the color palette. You can start by drawing some curvy lines on the dark area of your leaf and then draw them again on the light area of your leaf and see what you prefer. I like to mix them up a little bit. I found that placing the light ink drawing below the dark one works better, but you can see which order you prefer. The way I like to draw these lines is by applying very, very little pressure to my ink pen so that they are very thin and a bit transparent. Feel free to experiment and try different things. You might prefer how your leaves look with a lighter or darker shade. I usually draw the veins starting from the border with a little curve working towards the center or vice versa. As you can see, I am following the curve of the leaf, which gives it a lot of movement and makes it more dynamic. But remember, it's important not to overdo it. Now we're going to open the flower buds and create a new layer, drawing a few lines here and there. I'm now going to select the lighter layer and add a few soft touches to enhance the volume and light of these leaves here and there. If the lights are super soft, I feel it works very well. You can intentionally make more light lines towards the side of the leaf and leave the dark lines for the darker side. I prefer to place the light ink layer below the dark ink because I feel that it works really well when it comes to adding volume on the central vein of the leaf. So I redraw the central line below slightly off the darker line. We didn't add hard shadows to these leaves, and I'm feeling that they could benefit from some darker areas. So going back to the wet and wet brush and using a darker tone, I'm going to pass my brush on some areas of the stems and of the leaves. By making some areas darker, I will gain a lot of volume. If your leaves are already dark, you might want to lighten some areas instead. But if there's room for darker areas, go ahead and add them. By doing this on a separate layer, you can always check if you like the effect, and if you don't can just discard it without affecting the previous layers of paint. If you're not completely happy with your painting yet, trust me, it is through practice and repetition that you will improve. And let me show you what I mean with this. Whilst I was designing this class, I experimented with a lot of different roses. And in the process, I painted a lot of them. Now I feel super comfortable painting them, and I feel that these new ones are not only better than my previous versions, but the most important thing is that I feel that I'm more comfortable when painting them. So trust the process, finish the class, and you can always practice more once you have finished and learned the technique. In the next lesson, I'm going to show you how to use the glazing technique to enrich the colors of your roses and adapt them to sweet different seasons. 11. Painting Small Plants: Practice Session: Mm Practice makes perfect. So in this lesson, we're going to use the smaller plants to practice some of the concepts that we learned in the previous lessons. I have already shown you the step by step to achieve a watercolor technique. So in this lesson, I'm going to go much faster and play my video at a higher speed. Don't worry, as I'm still going to talk you through the steps that I take to finish my plants so that you can follow along. If for whatever reason, you don't have enough layers to paint your smaller plants, you can go back to the gallery and duplicate this file to complete this part of the class. On this new file, you can go ahead and get rid of the roses and leaves groups so that you make more layers available. In my case, I don't have any problems with layers, so I'm going to continue working on the same file. I'm going to start by making my smaller plants layer visible and lower its opacity so that I can barely see it. I'm going to lock this layer and create a layer below the acid group. The same way I did when creating my leaves, I'm going to start by drawing the siloeds of some of these leaves and then fill them up with a solid color using the blotch siloid brush, which once more, I love. Using this neutral green, I'm going to start by drawing a few of these leaves. Don't want all of these leaves to have the same color because some leaves are in front and some leaves are on the back. After drawing their silhouette, I'm going to fill them up with this solid color and create a layer below to draw the darker leaves which once more are on the back. I'm going to lower the opacity of my drawing as I feel that it's getting a little bit on the way. So lower the opacity and lock this layer once more. Using a darker shade of green, I'm going to complete the leaves which are on the back. I'm going to make my leaves fully opaque by duplicating their layers several times and merging them. Lastly, on a separate layer, I'm going to draw the stem using the blusch brush on a smaller scale. This stem also needs to be fully opaque, so I'm going to turn my background there to black and check that everything is opaque. Now, before moving on to the next plant, I'm going to finish this one. To keep things organized, I'm going to place these layers within a group. Instead of creating multiple layers on top, I'm going to go ahead and activate the Alpha lock option by swiping two fingers to the right on top of each layer. This means that whatever I paint on top of these layers is going to be contained within what's already there. This is an alternative to using layers in the form of clipping mask. I'm going to start with a light shade of green and start adding some light areas into the leaves which are on top. Lowering the opacity of the smatchtol, I'm going to soften these areas a little bit. I'm going to move on to the darker leaves and make them lighter so that they're not that different from the layers which are on top. See how at this stage of the plant, I'm using the wet on wet technique to add some darker areas and lighter ones into each part of the plant. I am constantly switching in between layers, giving some darker areas to the items which are below and maintaining the leaves which are on top lighter. And whenever I feel that my shadows or lights are too strong, I use the smudge tool to soften them up. Once I'm done with this part of the painting, I'm going to merge my layers into one because I don't mind losing them. Instead, I'm going to grit a layer on top and going back to the blotch silhouette brush, I'm going to start drawing some ink lines with a darker and lighter tone here and there. I hope that your understanding that this process is always very similar. In this case, for example, I feel that these lines are too strong, so I'm going to lower the opacity of the blotch shoeit brush so that these lines become a bit transparent and they don't cover fully what's below. It's always key to maintain the transparency of your assets and try not to cover completely what's on the layers below. Lastly, I'm going to grab a lighter color and add a few ink lines here and there to give extra volume to my lips. Okay, I'm done with this first plant, and I think it looks beautiful. So I'm going to collapse its group and create a layer on top to start my second plant. Once more, using a neutral green, I'm going to draw the leaves silhouettes. I'm not following exactly the drawing which is below, but rather using it as a reference. After filling my leaves up with the solid color, I'm going to move on to the stem. I'll duplicate my layer to make sure that my leaves are fully opaque, and with the wet and wet brush, I'm going to start giving some light areas to all of the leaves. This time, I'm going to use the trick of adding light areas to just half of the leaf. Once I'm done with the light areas, I'm going to add some shadows. These lights and shadows are a bit strong, so I'm going to use the smudge tool to soft tend them a little bit. On a separate layer, I'm going to draw some central veins on a lighter color. I'm going to move on to giving some shadings to the leaves. In this case, I'm using the blotch silloid brush at a lower opacity to add some soft hard shadows here and there. I'm going to move on to the third plant and once more, use a very similar process. I'm using a different dyer, and once more, I'm going to use the alpha oc option to add some shading onto these leaves. Making sure first that they are fully opaque. Even though I want to vary the tone of my leaves, I'm keeping them quite neutral and desaturated, because in the next lesson, I'm going to show you how to use the glazing technique to brighten up their colors or even make them seasonal. You can get very creative with these plants if you wish. Try to experiment as much as you want with different colors and stuff. I am keeping my plants quite neutral because as I said, I'm going to show you how to use the glazing technique to brighten up their colors, but I want you to feel free to experiment with this technique as much as you want to understand its potential and how you can apply it to your own style. You can challenge yourself to keep some plants lighter and some plants darker. This fourth plant is meant to be an eucalyptus plant, so I'm going to keep the colors desaturated and soft. Once more, I'm going to use two layers so that I can work the leaves which are on top separate to the ones which are below. This way, I can add these shadows to the ones which are below in a much easier way without the need of masks or stuff like that. This new plant has these small flowers that I wish to keep in a very desaturated cream color. This watercolor technique always follows a very similar process. When you're drawing leaves or smaller flowers, you always start by drawing its silloloid, filling it up with a solid color, making sure it's opaque, and then take it from there. I am convinced that it is by practicing that you will get better at painting with any technique. So I hope that by drawing the roses in different positions, drawing the leaves various times and putting all the concepts you learned into practice with these smaller plants, you have started to understand the potential that this technique has. My smaller plants are finally finished. I hope that this video wasn't too fast for you. I did a few different things here such as the Alpha log, but the logic remains the same. Currently, I have six layers. So once more to keep things organized, I'm going to group them together and name the group smaller plants. In the next lesson, I'm going to show you how to use the glazing technique to vary the colors of your plants and even make them seasonal. 12. Glazing Technique: Color Variations: Mm. One of the best things about working digitally is how easy is to adjust the colors of our paintings. I love using the adjustment tools in procret, but with this watercolor technique, I am aiming to mimic the look of real watercolor. And that is why I'm excited to show you the glazing technique. This method is commonly used in traditional watercolor painting by layering transparent washes onto already existing colors. Before we dive in, I recommend duplicating your roses layer or even your complete file. Apply the glazing technique, we are going to need to merge some of our layers. And you've already seen that we can achieve different styles by making our layers visible and invisible. So if you merge all of those layers, you're going to lose those styles. That's why I recommend that you duplicate your file first. If you want, once you have duplicated your file, you can name one of the files, watercolor roses, layers, and the other file can be named something like color variations. Going to walk you through adding this effect to roses and leaves. And once you have got the hang of it, you can go and apply that same technique into your small plants. We're going to start by opening the duplicated file and merging the roses and leaves groups, but keep them in separate layers for now. First, let's focus on the leaves, create a new layer, place it on top of the leaves and set it as clipping mask. For this technique, we need the new layer to be transparent, so we're going to tap on the N letter and change the blending mode to color burn. In this new layer, we'll use brighter colors to enhance the leaves. I'll start with an aquamarine tone and a bright light, saturated lemon yellow. Using the wet and wet brush, I'm going to paint gently over some areas of the leaves without applying too much pressure to my pen. Notice how the colors become much brighter. By painting directly on top, we can control exactly where we want each color to go. We can also modify the colors with the adjustment tools, which by the way, are pretty good. But by doing so, we wouldn't have nearly this level of control. You can try using both a darker and a lighter tone to see how they affect different parts of the leaf. You don't have to completely cover the previous layers of paint. By applying very light pressure, you will create transparency, and the blending between colors will feel more natural. You can test different things, for example, I'm using lemon yellow for the lighter areas of my leaves and aquamarine blue for the darker tones. But of course, you can try as many colors as you want and see how they affect the colors below when you use them differently. This is why I always prefer starting with more muted colors when painting my acids. My leaves, for instance, have quite desaturated greens, and that is why superposing these brighter colors is being quite easy. If the base colors were too bright, balancing the glazing effect would be a bit harder. Feel free to experiment with different brushes to apply this effect. Test brighter tones and darker tones, for example. In here, for instance, I'm using a bright yellow to highlight the central vein of the leaves, and I think it looks pretty cute. Once in a while, you can try changing the blending mode of your layer or adjusting the layer's opacity. You might stumble across something you love. Some amazing effects can appear when experimenting with this technique. To keep track of your progress, you can duplicate the layer and compare the effects. I think I'm going to stick to the colour burn effect for now, but you can explore and find out what works best for you. Now let's move on to the roses. I'm going to create another clipping mask layer and use a magenta color with a larger brush size. By applying very little pressure, I'll add subtle magenta touches to the roses here and there. If you want to explore different color options, try adding another layer. I feel these roses could have some color on their lighter areas. So I'm going to create a new layer on top, set it up to soft light, and with a very, very light magenta, I'm going to pass my brush over the light areas to modify their tone. You don't always have to stick with darker tones. Lighter colors can brighten areas beautifully. Just create a separate layer, try different blending modes and adjust opacity levels to see what works best. Let's go back to the main gallery and compare the before and after. Pretty awesome, right? I'm going to duplicate my fowl once more and show you how I adapt these roses into the autumn season. So I'm going to start by erasing the colors that I have already created to start fresh. So I'm going to create a new layer, set it to clipping mask, set it to color burn and this time, and for an autumn inspired palette. For my leaves, I'll try a reddish tone at first, but if it feels too dark, I'll adjust it with a lighter shade instead. The lighter color adds a softer effect, but it's not as vibrant as I'd like, so I'm going to switch back to color burn. Which helps me maintain that light yet saturated look perfect for the autumn fill I'm going for. The beauty of this approach is the amount of control that you have over your colors. Whilst adjustment layers can achieve similar results. This method allows you to have much more precision. Plus is more fun and you can experiment and see where your creativity takes you. Towards the end, if you feel like it, you can also apply a little bit more details using the ink pen here and there. In this case, I'm using some lighter lines, and I have also applied some darker ones here and there. Alright, let's compare the three versions. The first one has neutral, more muted tones, although I'll admit that the roses are quite vibrant rather than completely desaturated. The second version has a cozy autumn inspired vibe with a warm palette of earthy hues. In contrast, the third version feels bright and lively with summary tones like aquamari and magenta, which adds a playful touch to my painting. 13. Fixating & Enhancing the Watercolor Texture: At the moment, we have got a set of layers containing the watercolor paper texture on top of our paintings, which makes it look stunning and real and make the painting technique much more satisfying. But when we deactivate the paper text layers, our paintings go back to looking a bit flat. If you have taken my previous classes, you know how much I love to have NIMAch library with assets that I can reuse in several projects. So in this lesson, I'm going to show you how to apply the watercolor paper texture to your assets and make the final twigs before you export them into your library. I'm going to work with this colorway as I love it, and the layers are already merged. If you want to do this with the original file though, just duplicate it first as we're going to have to merge all of our layers again. Let's get started and apply the watercolor paper texture. The first thing you have to do is to adjust how strong you want the watercolor paper texture to be, and this is up to you. The linear burn layer is the strongest, but the top two also affect your image. So go ahead and play with the opacity bars until you like how your assets look. We're going to start by discarding the invisible layers that we're not using. Then we're going to merge our leaves and flowers separately. I will start with the two layers which compose the leaves, then move on to merging the roses layers. And since the flower buds don't make a lot of sense on their own, we're going to merge those leaves into the roses layer. We're going to start by applying the watercolor paper texture onto the leaves and move to the roses later on. Start by duplicating the layer of the leaves and the group which contains the watercolor paper texture. Move one of the groups on top of the leaves layer and merge them together. Now the leaves are looking beautiful, but we have a problem. They are not isolated. The paper is now covering the whole canvas, and to be able to use these leaves in other compositions, we need to erase the background. Thankfully, we saved the leaves layer separately below, so it's going to be super easy. Look at how different they look with and without the watercolor paper texture. Tap on the layer that doesn't contain the watercolor paper texture. It should be below, tap on select, and the leaves should be selected. Now go back to the layer which contains the watercolor paper texture, swipe three fingers down and tap on cut and paste. Open the layer panel, and now we can get rid of this layer which contains the watercolor paper texture. And now our leaves are with the watercolor paper texture, applied and isolated, which is great. It means that we can use them over any background that we want. Whether it's dark, saturated, it doesn't matter. Before we proceed with the roses, I want to show you something. If I activate the roses layer and choose a dark background, you'll notice these holes appear in the roses. I left these spaces intentionally when creating my roses to achieve more volume. But if I was to use these roses over a dark background, then it wouldn't look nice. So to fix this, I'm going to turn the background to dark to be able to visualize well where these gaps are and create a layer that I'm going to place below my roses. I could grab a brush and start filling the empty spaces, but that might be a bit time consuming. It's totally fine if you want to do it this way, but I want to show you a second way to approach this problem. Let's start by making sure that the roses layer is selected, tap on the third icon on the top menu, which is the selection tools, tap on automatic from the bottom central menu, and tap on the background. In this case, is black. Then tap the screen with your pen and move it to the right to increase the selection threshold so that the selection bleeds a little bit inside your roses. We are going to fill this selection with white, and this will prevent having any white border around our roses. Since we need to select the roses and not the background, we're going to tap invert from this bottom menu to invert the selection. Let's go back to the layer panel and create a layer below our roses. Make sure that you have the white color selected and use the color drop option to fill each of the roses. This will fill all the empty spaces. We can tap on the selection tool to discard the selection and problem solved. Now we can go ahead, merge these layers and apply the watercolor paper texture. Let me remind you how to do this. You start by duplicating the watercolor paper texture and the roses layer. Merge one of the groups with one of the layers. This has applied the watercolor paper texture to all the canvas. So now we need to isolate our roses. Tap on the layer below, tap on select, tap on invert, so the roses are selected. Go back to the layer which contains the paper texture, swipe three fingers down and tap on cut and paste. Now you can go ahead and discard the paper texture, and now all of your assets should appear with the paper texture applied to them. In the next lesson, I'm going to show you how to place each of these elements onto its own layer so that we can start using them individually. 14. Organizing Assets into Layers: Now I'm going to show you how to isolate all these assets into their own layer so that we can export them separately as images with a transparent background. I'm going to start by making my background white again and show you how to enhance the color of your assets a tiny bit more before separating them into layers. I'm going to start by duplicating my roses layer just in case I don't like what I do, I can always go back. So usually after I apply the watercolor paper texture to my assets, I find that they look a tiny bit opaque. So I like to go to the adjustment panel, go to curves, and slightly move this top blue node to the left to increase the light areas. And this bottom one to the right to increase the saturation and make the roses and leaves look a bit more rich in depth. It doesn't change drastically, but I do feel that the colors become more beautiful. Let's go ahead and do this with the leaves layer. So I'm going to tap on the adjustment s panel, tap on curves. I'm going to zoom in so that we can see it clearly and start moving these nodes to modify the lights and shadows. Below the Gama option, you have three channels, red, green, and blue, and you can modify them separately. I'm going to tap on the blue channel and start moving the nodes. See how the color changes. You can even create new nodes in the middle of the line and move them independently to affect different areas of your leaves. This allows you to modify the colors of the light areas, mid tones, and dark areas of your acids even more. Take some time playing around with these channels and adjust the saturation and contrast of your acids. If you want to experiment with the channels option, I invite you to start duplicating your roses and leaves layers so that you can achieve different options. Then you can decide which ones to keep. The change is not dramatic, but with the before and after option, you can admire the changes. I'm going to get rid of the previous layers because I don't need them anymore, and I'm also going to get rid of this paper texture. I know that there is another file in my gallery containing all of the layers, so in this one, I don't mind getting rid of them. Now we're going to place each of these elements onto its own layer. Let's start with the roses. I'm going to tap on the selection tool and tap on fregan from the bottom mani. I'm going to start enclosing the flower buds, Swipe three fingers down and tap on cut and paste. If I open my layer panel, I can see that my flower buds now appear on a separate layer on top. I'm going to make it invisible and repeat this process for the rest of the roses. Enclose it, three fingers down, cut and paste and make the layer invisible to avoid confusion on what's been separated and what's still missing. Now I'm going to move on to separating my leaves and repeat exactly the same process. Okay, now that all of our assets are separate on different layers, we're going to export them separately as images with a transparent background. 15. Exporting Your Assets to Your Image Library: Let's export these beautiful assets separately as PNG files with a transparent background. This method has worked best for me when exporting images individually, and I start by placing all the assets in the center of the canvas. If we export the images as they are at the moment, the file size will match the canvas size, which isn't ideal. It's way too big. Instead, it is better to crop the canvas to fit each acid before exporting it. I like to start with the largest one, open the actions panel, tap on canvas, tap crop and resize, and adjust the canvas to match the acid. Once it's properly cropped, make the background there are invisible. Go to Share and tap PNG to export it with a transparent background. Tap on save image, and the image should appear on your photo gallery. Now, moving on to the second largest asset, I will crop the canvas again. Go to Share and tap PNG to export it with a transparent background. But what if when making another asset visible, you notice part of it has been cropped simply undo the last few steps and adjust the canvas size to fit the new asset before exporting it? Go ahead and export all of your assets into your image library. If you have several images which are of a similar size, you can crop the canvas. Shared layers export PNG files. This will export all of the visible layers simultaneously. I have exported my images, and now I can check my photo gallery to see that all my images have been exported. If you have taken my previous classes, you know how much I love to keep an organized library of images to use across different visual projects. I have a folder called Image Library where I have been saving all of my images for a while, so I'll go ahead and add my roses and leaves right away to it. I'll tap Select, select them all. And add them to my image library. Go ahead and export your smaller plants, and if you're up for it, organize all of these images into a dedicated folder, that will be your image library from now on. In the next lesson, we're going to create a final composition with all of our acids. 16. Creating Your Final Composition: Now that we have a beautiful set of roses and leaves, I want to show you how I use them to decorate a quote and create a final composition. In many of my other classes, I have taught how to do this in Canva, but this time, we're going to do it here straight in Procrit. In the class resources, you will find a folder named quotes with these five quotes that have a transparent background. Let's go back to Procrit and open a file to create our final composition. I'm going to select an A four file for my composition, but, of course, feel free to choose another one if you feel like it. Before we move on, I want to address an issue I came across that you might encounter as well. I'm going to split my screen and display the photo gallery on the left side of the screen. So you have to slide your finger up, tap and hold the icon of the gallery, and slide it to one side of the screen. Have exported my roses and leaf, but due to having my system updated, now a lot of my images appear as if they had a white background. No need to worry. When importing these images into Procrit, you will see that thankfully they're still transparent. This is how I like to import my images. Let's go ahead and add some text to this canvas. If you don't want to download the quotes and you rather add your text straight here in Procrit, you'll have to follow these steps. Tap on the wrench icon to display the actions panel. Tap on add tap on add text. Write whatever you want to write in here, I'm going to write hello. You can use the transforming tool to make it larger. And if you want to change the font, you have to tap on top of the layer, tap on edit text from the dropdown menu, and this menu down here in the center will appear. When you tap on the central icon, you will be able to display this menu where you can modify the characteristics of your text. Now, let's go over how to import one of the quotes included in the folder you downloaded. I'm going to slide my finger up and open my folder, which in my case, is in Dropbox. Yours is likely in the Downloads folder. The folder's name is quotes, and I have left five images with different quotes which you can use. I'm going to use the first one, which is Love always wins. So I'm going to tap on the text and import it into Procreate. You can also import your image in the actions panel by tapping on either Insert a file or Insert a photo. I'm going to erase my rose and adjust the size of my text. For your composition, you can do whatever you want. You can add flowers and leaves on the top and bottom. But in my case, I want this quote to appear surrounded by a crown of my beautiful roses and leaves. And I think that for that, I do want to modify my canvas ratio to squared shape. So I'm going to tap on the actions panel, go to canvas, and go to crop and resize. I'm going to make the size a tiny bit wider and shorten the vertical scale. Something to keep in mind is that whilst transforming your canvas, you'll see how many layers you have available. They recommend ensuring that you have at least 20 or 25 layers to complete this exercise. If you have less than that, you can tap on settings up here and lower the resolution of your canvas to 150. This resolution will still allow you to print your design, but it will give you extra layers. If you still need more layers, perhaps you can make your canvas a bit smaller until you see that the number of layers which appear up here exceeds 25. To make my rounded floral crown, I'm going to start by drawing a perfect circle to use as a guide, ensuring to have enough space on each side of the canvas to place my flowers and leaves. I'm going to create a new layer and select the fine tip brush from the ink collection, which comes by default in procret. I'm going to draw my circle, leave my pen down, and with a finger from my other hand, I'm going to tap my screen to make my circle perfect. Now I can fill it with a solid color, move it to the center of the canvas and place it below my quote. I only want to use this circle as a reference, so I'm going to lower its opacity, and I'm also going to make it a bit smaller to make more space for my flowers and leaves on each side of the canvas. Let's lock this layer and import our roses. I'm going to slide my finger to display the photo gallery on the side of my canvas and make my gallery smaller. If you're using a smaller iPad, you might prefer to import all of your assets at once. Personally, I prefer importing them as needed. So I'm going to start by importing the three main flowers. I'm going to close the gallery and start by making them smaller because of their color, these flowers will serve as the foundation of our design. That is why I prefer to import and position them first within the circle. Can design this crown however you like. You might create a heavier composition at the bottom and use smaller plants as you go up or go for a balanced composition where the crown has an even weight throughout. I'm going to adjust the size of my quote so that I have more space for my flowers and leaves. I'm going to start by placing a few of these roses around the circle, keeping the largest one at the very bottom. I will probably adjust their positions as the design develops. Next, I will begin importing my leaves and positioning them around the circle. I need the rose layers to stay on top of the layer panel so that the stems go behind. Now that I have placed a few leaves, I'll import one of the smaller plants and show you something. This one, in particular, has a very straight shape, and I can't seem to position it harmoniously within the circle. To fix this, I'm going to use the rap too. I'm going to discard this image and import it again. I'll tap rap from the bottom menu and start moving the mesh intersections to adjust the shape, making it rounder so that it fits the design better. When you transform images in Procreate, their quality can sometimes decrease slightly. But since this image is already saved in my photo gallery, I don't mind if it gets a little blurry because I can always reimport it if I need to. Now, it's much easier to fit this plant within my circle. I'm going to import my flower buds and separate them into different layers so that I can use them individually. Try experimenting with the size of your elements, make some plants larger and other smaller. This variation adds balance and visual interest to your composition. I'm going to place a smaller rose in here, as I feel that there's a lot of bread in the bottom part of my composition and not much on the top. Every now and then, I like to create new elements from the ones I already have. Let me show you what I mean. For instance, I will import this larger branch, but let's say I only want these three leaves here at the bottom. Easy, using the freehand selection tool, I'll outline the part I want, cut and paste it into its new layer, and erase these extra bits. Now I can use these three leaves separately, which is great. I do this a lot in my designs. Don't be afraid to discard elements if they don't feel like a natural fit within your composition. You don't always have to use all of the elements that you have created. Now that the circle is complete, I'm going to make the guide invisible and continue filling the space with smaller plants. There's something else I want to show you. I'm going to select this little flower, place it onto its own layer, and use the rap transforming tool to modify its shape. After transforming my flower, it's looking a bit blurry and has lost some quality. To fix this without reimporting it, you can head to the adjustment panel, tap, sharpen, and slide your pen to the right on the screen. This should bring some sharpness back. If you want to change the color of your quote, all you have to do is start by selecting the color that you want to add to your text. In my case, this green. Select the layer from the layer panel, activate the Alpha Lock option, tap on your layer, tap on fill layer from the dropdown menu, and your active color should be applied into your text. You can also change your background color and test how your design would look over a dark background. I'm going to select this dark aquamarine and color my quote white. I also love how this version looks. Take your time experimenting with different colors. And if you're up for it, why not upload a few color variations along with the rest of your project? The best format for sharing your images in the project and resources gallery is JPEG. Simply tap on the range icon, select JPEG and save your image to your photo library. Feel free to create as many compositions as you like, as I would love to see them all. In the next lesson, we will upload our project to the class gallery. I can't wait to see what you create. 17. Time to Publish Your Project: There is no better way to learn that by actually doing and I hope that you have been able to create your project whilst following along with this class. If so, now is the time to upload it to this class Project and resources gallery. Publish your project following these steps. On this class Project and resource stuff, you will find a button that says Create Project, tap on it, and you will enter this window. You can add a title to your project in this box. It is important to add a cover image because if you don't, your project will appear with a gray cover in the gallery of this class, and we want to be drawn into seeing your project. Tap on the button that says image and start selecting them from your computer. I would love if you could share your initial collections of botanical illustrations. I want to see the way that you interpret the flowers if you chose different colors to the ones that I use or change the shapes. But even if they're identical to mine, I would love to see them too. Below, you can add some text and share some thoughts. You can tell me about your process. It is really nice to read my students thoughts, as it helps me to know them better and have a more human approach to them. Feel free to share everything that you've done. You can make your project private, and Leslie, once you're ready, you can hit that grid button up there that says publish and your project will appear on the gallery of this class. If you post your project on social media, I would love if you can tag me so I can share it with my followers as well. 18. Brush Kits & Classes to Keep Growing: I really hope that you have been enjoying this class and having fun experimenting with the resources that I have shared with you so far. Before we wrap things up, I have got something very special that I want to share with you, something that has made a huge difference in my own digital watercolor journey and how it feels to paint on my iPad. Introducing my watercolor Procrit brush kit. After months of experimenting, testing and refining, I am beyond excited to finally share my watercolor procreate brush kit with you. I've poured a lot of time and care into crafting these brushes to help you achieve the organic look and feel of real watercolor when painting digitally in procreate. There are some brushes that you have already tried. Already used a lined detail brush, the blusch silhouette, a blend brush, and a wet on wet brush, wet on wet number four to create soft transitions. Each section of this brush collection is designed to give you different effects for similar parts of your painting, making it easy to explore and experiment. What's included in the kit paper textures. I've hand photographed seven different watercolor papers from top brands to give your digital painting an authentic organic feel. I want to take a moment to explain how I set up my watercolor paper texture. Usually select a light gray for the linear burn and color burn layers, and a white for the soft light layer. If I want to enhance the paper texture, I tweak the curves in the adjustment spanel to slightly increase the contrast. You can also experiment with toned papers to find what works best for you, blend brushes for the smudge tool. These brushes help you soften color transitions, mimicking the natural blending of pigments on wet paper. You will find a variety of textures, a few soft blenders, which are great for smooth watercolor effects, and a few dry brush blenders for stronger, more textured effects. The soft blent brush we use in this class is my go to, but I also love experimenting with the other for different effects. Line detail brushes. These brushes are perfect for fine details, borders, inclines, tree branches, and intricate elements, allowing you to bring delicate touches to your artwork. I love using them when painting landscapes or adding expressive strokes to my botanical paintings as we did with our roses and leaves in this class. Wet and wet brushes. I've designed these brushes for painting large washes such as skies, soft backgrounds, tidy effects, and seamless color transitions. These brushes give you that beautiful diffused watercolor look. If you love blending and creating those atmospheric effects, this section is for you. Textured brushes. I use these to add extra depth and texture to elements like foliage, trees, trunks, and even grunge or distressed details in my paintings. These brushes bring an organic hand painted touch to digital work, splash and splatter stamps. These are so fun to use. Splatter brushes can add a natural lively feel to backgrounds, flowers, or even specific texture areas. I often apply them with a mask to control their placement or select only the areas I want to highlight. Bonus stamp set. This extra set of four hand painted stamps for practicing landscapes and composition skills. I created these based on traditional watercolor landscapes and urban painting techniques. These stamps are part of a larger collection, which you can find on my digital products page. Get the full watercolor brush kit. I have spent a lot of time perfecting these brushes, and I know they'll make your procreate experience even more enjoyable and impactful. If you're ready to take your digital watercolor work to the next level, this kit has everything you need. Check out the full brush kit and other fun watercolor resources on my digital products page. I will leave a link below in the description of this class. Give them a try experiment, and I can't wait to see what you create. If you share your paintings on Instagram, you can tag me at sylvispina dot art so I can not only see what you're creating, but I can share it with my followers as well. Now, let's talk about what's next. I presume that if you have taken this class, it's because you love using pkrit and you're probably eager to keep practicing and improving your skills. So I've put together a few classes that will help you continue expanding your skills. These classes will build on everything that you have learned so far in this class. Okay, so you have started your image library, and now your set of watercolor roses and leaves is ready to be used into new exciting design projects. And that's why I have prepared two classes that will be the perfect next steps to make this possible and prove the point of why is such a game changer to have an image library? Let's start with my class from procrage to Canva, turn your illustrations into digital designs. In this class, you'll expand your library whilst creating a collection of botanical assets in a different visual style. Whilst doing so, I'll share my favorite procrage shortcuts and a few workload tricks to elevate your game. Now, if you loved designing the crown with your roses, you're gonna love the second part of this class. I'll introduce you to Canva, a powerful super beginner friendly platform packed with design resources like fun pairings, ready made templates, and layout tools. I will show you how to upload your flowers into Canvas gallery and decorate four pieces ready to be printed or shared with the world. Lastly, I will introduce you to using mockups to visualize your designs in real world applications and bring your creations to life. Okay, now you've mastered decorating design pieces with your illustrations. But what if you could take your skills further and turn your watercolor roses and leaves into endless professional looking patterns. If this is something that catches your eye, you're going to love that class. I'll show you my simple yet powerful method for transforming your existing artwork into stunning repeating patterns all within Procrit. This class is perfect for artists, illustrators, and designers who want to expand their skills and create ready made patterns. No matter where you are in your creative process, I'm here to support you in every step of the way. I can't wait to see how you continue to grow and develop your watercolor skills. Feel free to reach out if you have any questions or need extra guidance. In the next lesson, I'll share some final thoughts and say goodbye to you. 19. Final Thoughts: Thanks so much for joining me in this class. I am truly grateful to everyone who has made it to the end, and I hope that you have enjoyed the journey as much as I have enjoyed creating it for you. If after watching the class, you enjoyed it and learn something new, please review it. It would mean a lot to me as reviews help me know what I'm doing well, what I can do better in the future, and also what my students enjoy the most. If you're looking for even more resources to keep learning, be sure to check out my YouTube channel. I like to post shorter tutorials, art blogs, behind the scenes, and snippets to my creative process that might inspire you on experimenting with more ideas and techniques. Make sure to follow me here on Skillshare to stay updated on new classes, giveaways I host and stuff like that. And I love to keep in touch with people through emails. Although I only send one every few months, I love sharing news behind the scenes of projects I'm working on. You will hear about new classes, get access to discounts on my digital products, hear about giveaways and what comes next. If you want to check my other personal projects, which include patterns, murals, paintings on different techniques or just behind the scenes, I would love you to follow me on Instagram at sylvispina dot t. And that's all. Thank you once more for being here. Enjoy your creativity and see you in my next class.