Transcripts
1. Introduction: My name is Jennifer Nichols of Layla and post studio follows my favorite season. So I made this illustration with all my favorite things and I want to show you how to do it. I created some amazing texture brushes that we'll be free in class. So make sure you get all the downloads. Find me on Facebook, Instagram, all of that. All my links are on my skill share profile page. And I would love to see their heavy share your work and post your projects in the class so we can all see each others work. Happy fall, let's get started.
2. Downloading Resources: To download resources, you need to be in landscape mode on your iPad, not in the app, but in a browser. So once you're in the class that you need the downloads for, just go down to the tabs here to projects and resources. And you should see them on the right-hand side. Depending on your browser, this will be slightly different. So I'm gonna walk you through all of these. I have appropriate file. I have a palate which is the dot swatches. I have a fresh set and I have an image. The other thing actually that I don't have here is an individual brush. If you download an individual brush, it will go into your imported category of brushes, in your category, in your list of brushes. So for Safari, you can tap and hold is one way to do it or you can just tap. And There's a few ways this actually says Download really small. Let's tap at one time. So it opened in a new tab and you just tap download. And right up here is this little arrow and it bounced down, which means it was downloading and then it completed. So I'm going to leave that there while I get the rest of my things. Hedgehog swatches. So watch this little arrow. Little did a little bounce. Sometimes there'll be a little progress bar for a larger download, like that. Ego. And this will just open up into a new tab and show you the image and that if you want to save it to your camera, you can tap and hold and tap Add to photos. So now let's go to this download button. And there you have your download so you can tap on those. So it looks like it was a zip file. So that is right here. I'm gonna go back. Oh, I think it got all of them. Maybe I don't have to do these one at a time. So that was a procreate file and so it opened right into procreate and it opened into my very first spot on the gallery. But the rest of my stuff is in the files tab. If you can't find it, you need to just go. Because from Safari it just kinda bounced us over to files. If you're not familiar with files. And then you go to downloads and then you find the name of what you have. It's going to be an alphabetical order. So if you tap on this, thankfully, with the update them several months ago to iOS 13. Ipads can deal with zip files now. So if you tap on the swatches, imports right into procreate, if you go into a got a one of your files, you can see in your list of pallets, it will be right down at the bottom. And then I believe you can move it around back into files and this is the brush set. And it's at the top. And then at my imported brushes that are way down at the bottom because I don't use them that often. So if you have a separate brush that you have a download of that's individual and it's not in a set, it'll be in your imported brush section. And then you can drag it out and drop it into any category you want. I would suggest keeping them fairly organized.
3. Photo References: To get started, let's go to pixabay.com. So you can search on pumpkin. And from here you can find a pumpkin that is the angle that you prefer. These are not part of Pixabay. These are some sort of I stock advertisement pictures. So beware of those. And this is just a great site. This site as well as an Splash.com, although I find more on Pixabay than I do on n splash. But when, whenever there's something on Pixabay that I can't really find exactly what I want. I check on splash and usually between the two I can find what I'm looking for. So I did provide some reference photos, but you can also just go find your own and make your illustration unique in that way. But I'm going to show you the techniques for the illustration that you saw in the intro. From here, you can search on mushrooms as well. What's fun about searching mushrooms is just all the varieties. And you can look at the different angles here where we're not necessarily going to use a reference photo for mushrooms. But I want to show you like for example, this one right here. If you're looking at it from an angle where you're kind of scene that mostly the top with some of the stem down here, but you're not seeing this gills on the underside. Then you're really just drawing an oval and then put it into a mound on top and drawing the stem underneath. So that's a pretty simple view for a mushroom. And we will do one like that. So most of these, you can see this one as well. But this one even have that view where you just have that simple dome with a stem underneath. And then we're also going to do when that has more of a view. Maybe the measurement is leaning over and we can see the underside a little bit. So I guess this is a good example. Maybe this one to note that these are leaning over. This one's got a camera angle from down low. So we're going to draw one where we can see some gills as well. So go through and you can see there's a ton of fun stuff to choose from. And we're not going for super realistic. So just kind of get one that you like, the colors and the shapes and get some inspiration. All right, let's get started on our sketch.
4. Sketch: Alright, you can start wherever canvas size you're comfortable with. I am just doing an eight by ten. So you can go to the plus sign, go to that plus sign. I do inches here in America. Some gonna do width ten, height, 8300 dpi. And i don't change much else. Sometimes I changed the color profile. Oh, it's defaulting into my this is the slightly older color profile, which is more compatible with other apps and things. So I'm just going to keep it there. P3 is a little bit more bright for online work. Tap create. Alright. Let's go ahead and start with a few layer. You should have some reference photos from the downloads and resources. Or you couldn't just go to Pixabay and search for your own. I really like the shape of this pumpkin. And then we're gonna do kind of a swirly stem. If you look at other photos, then you can see the stems are a little bit kind of cuter, I guess. But this one shows some of the kind of thumps behind the stem as well. And so does this one right here. But this is more of one of those little gourds. This one's a nice angle to different type of pumpkin that's a little less of the, the bumps and some records. So just get a rough sketch. If you have your fall Halloween brushes, you can go to 6P or dry ink. I usually sketch with my gems 6B on a dark color. And it doesn't matter how big you make your pumpkin. But to make a nice, easy pumpkin, you can just do an oval. And that's just a nice starting point. So you can make this one big oval here. And I know it's not really an oval in the picture. So you can get to make the base a little bit wider and the top a little bit narrower. And I'm looking over here, looks like I have another lumped that comes out here. And another lump that comes out here. Again, the, it gets wider over here. So practicing sketching what you see is a nice way to get better at your art. But since these are free use photos, you can also trace. And that's why I like to choose photos for class. Use the insights like Pixabay. Sometimes it's just fun to get started with the coloring instead of spending a whole bunch of time sketching. Alright, and then the back I see 123. So let's just kinda do 123 like that. And the stem is going to just kinda come up from there. We can erase this little section. This is a Fen curl to the stem. You can also curl it again. Make the little top pin eval little, little cut edge there. Or make the base a little bit wider. So spend some time on getting your pumpkin just how you want it, maybe a little curly thing there. Alright, once you have your pumpkin, let's go to a new layer just so we can kinda keep things separate while we get things in place. And you can look at a mushroom reference. You can push your pumpkin aside if you went. So for this type of measure them, you're really just needing a dome. And then a slightly curved underside. And the stamp, the stems usually a little bit wider at the base. Just depends on the type of mushroom. So there's one and then I just kinda put a little, this is just a little artsy drawing so you can finish the bottom of it however you like. And for this one, I wanted to do an example of one where you can kinda see the gills underneath. So I would start with an oval and then put the top. And then this is the underside. So then put another little mini oval and that's gonna be how you know where that stem meets up in there. So you can draw this stem down from there. So if you're looking at this particular photo that looks like it goes up higher into it, does depend on the photo you're using. And that's how simple mushrooms can be. When you're drawing the gills, think about this as your center right there at the top. If you were to cut the stem right out and those gills just radiate out from there. So they're going to, they're going to radiate like this. And of course you would erase the ones that are hidden behind that stem. And that's how you can get a good judge of what direction each of those gills should go. Alright? And if I want to make these look like they're somewhat similar types of mushrooms, I'm going to want to make sure I color them in a similar way and things like that. So for now and keeping them on the same layer, which is something they need to think about what I'm about to overlap them right here. And I'm going to erase where this man overlaps. So it looks like it's in front. But I'm also going to change this stem a little bit so they look a little bit more like the same style of mushroom or type of measurement. And then another feature of machines, since they kind of had this little skirt, some of them do. So if you wanna do a little bit of a Just some sort of indication of something going on there. It really doesn't need to be very specific. And then of course there's a bunch of stuff on top and we can do that later when I, when we add color. And let's sketch some acorns. Let's see, I'm going to turn these off, go to a new layer. And here's a nice sideways view of an acorn. There's a lot of different shapes of acorns. So in my area, this is what they look like. You can choose all different photos from that website. The ones I selected are all similar for the shape. So a simple way for getting this shape is to do this kind of a U-shape and then just a little bit at the bottom. And then for the top, you're going to just kind of do like a curvy moon shape. So you can see that the crescent moon, but then curved on the ends. And then you can do a little steamy thing there too. So that's your super-simple, basic top-down or sideways view of an acorn. And then you can see there's some nice texture going on, a little scaly bits there so you can add some streaks down here later. And Sam, little scale looking things up there later to get some more pretty typical acorn looking features for our illustration later. And, and then I also wanted to include a photo that has a different angles. So this is kind of pointing at me. And if I look at that, that is this bottom part is just a circle. And then it's almost just like a bigger circle around it. And then there's a little indication of this pointy piece right here. If you do an angle of an acorn that's like this, your streaks will radiate out from that point EPs and your little scaly bits will be that way. Another one is a little under-developed when? So what I was gonna do, what I did for the original illustration was I just made a nice little twig, some jerking my hand around here to make a little rough edged twig here and then little stems. This is not realistic because I don't think the acorns actually grow like this. They grow in clusters on the end of a branch. And then we can place our little acorns. Maybe this one will go here and get it down here. And that one will end up covering the branch Parkway. So then you can erase part of the branch, right? And let's do another one. We're going to try to think of what it would look like to have one facing out that way. So we would see mostly that top piece. And then we would see just a small portion of that bottom piece. That top piece would have the little stem coming up and the scaly pieces would be going around this way. And you probably wouldn't be able to see the little tip because of the angle. So go ahead and spend some time getting as many acorns as he would like. You can even duplicate when they took away the copy paste. So you and I have to do copy and then slept on again and do paste. So I hope they bring that back because I find that not okay. So this is the inappropriate 5X up data that came out yesterday. Okay. I like that. And then you can have a little empty stem where maybe an acorn fell off. We have that a chord on a separate layer because of the copy and paste solidus merge those layers. And finally, a couple of Lee, the simplest way that we're gonna do an OK. leaf is just to get the vein first. Let's get on our layer that's open the vein. And then we're going to do, if you look at say, this picture right here, you see small lobe, bigger, bigger, and then it gets smaller and smaller. You can do like a big lobe up here. Two smaller lobes. Bigger lobes, smaller, smaller, smaller, smaller. No precision needed. Get a little stem. Maybe make some feigns. This is just given some of the details without worrying about details. So that's one type of leaf. And then I'm just gonna do one of these simple leaves. This one's got jagged edges you can do or not. And I'm gonna do it nice. The curved. Here's the stem. Maybe the end is curly and this one has more veins. It kinda angle up. And then if you want to add the details, if that jagged edges. So do as many of those as you went. I'm just sticking with two for today. And now we're going to assemble. Let's get going.
5. Pumpkin: All right. I like to use dry ink. It's a native procreate brush. I did include it. All of these bottom brushes are all native brushes and then the rest are my brushes. This dry ink is nice and fun and textured. Let's go ahead and go to this middle orange right here. I'm on I pretty low layer. Let's alpha lock our sketch layers so we don't accidentally draw map. So two-finger swipe and go to a pretty big sites. You can get a nice good texture of the dry brush. We're not going to drag and drop this. Because if you drag and drop, you won't get that texture throughout. Can you see that texture and color over the top of it again, it's just going to fill it in too much. So try not to overlap your strokes too much and get an outline and then fill in the spaces without doing too much overlapping. And now you have a nice foundation that's going to keep that texture even when you're adding more stuff on top. Because we're using Clippy masks. Go to a new layer, go to middle green, come down in size. You can have a little more control. And then just get a nice rough stem here. And we're going right on top. So we need to make this shape approximately the right shape. We can change this base color, base shape later to make it fit a little bit better. And that is the start of our pumpkin. Now we just need a couple Clippy masks above each one. So let's add a layer, turn it into a clipping mask, Go to the stem layer. Layer above that can go become a clipping mask. You can stay on the dry ink. I have fun with Lyapunov. I have this haze streaks brush that I've been using. 6b is nice for these details of the dark areas. These are going to be dark if you need your reference photo. Let's pull up your reference photo. You know, when we have a new way to do reference photos. So go to the wrench tool, go to Canvas, and then tap reference. And that's referencing your canvas right now. If you need to move this out of the way, just come up here and you can drag it out of the way. These bottom corners can change the size of it. And if you want an image in here instead of this current thing you're working on. So this is, this is your current project and you can see changes live. So let me show you a nice big red streak that wasn't very thick. So you can see the changes live as they're happening. So that's interesting. I haven't played around with it too much, but I'm going to choose image here. So I'm going to choose image, input image, go to albums since I have my fall images in an album. And then I'm going to choose this reference photo that we had of the pumpkin. Make it smaller, move it around. You can pinch and zoom just like your other pinch and zoom ability hair. Alright, so get that to where you want it. So what I'm seeing here is it's really dark in the grooves. And we've got some highlights over here and it starts on the bottom as well. So I have this darker orange over here chosen. And right now I just have this 6B and its maxed out for size. It looks like I got some streaks over here. Let's get those off. And I also need to go to the clipping mask on that pumpkin. We can smudge this later. I'm going to my Hay Street expresss on a pretty big size. I just called it a haze streaks because it's very fine. So this is kind of a dark shadowy area. We're gonna go to a new clipping mask and go to this more yellowy orange. Try artists CRAN. So this is the Jens artists CRAN, streaky. So I made it a little bit more streaky, but it's still very grungy. It's important to get at least three colors go in. So we had our base color, we have our dark, now we have a lighter color. And just start playing around with adding more and more lights and darks. Sometimes it's nice just to stay on a certain layer so that you get some blending you can do. And let's go to a pretty bright color and I'm still on this light, dark and light. And we have a lot of different elements and they don't want to use a ton of layers for each one, because that really does start to make it difficult for anybody who doesn't have a lot of layers. There's not a lot of detail on these back pieces back here, but I want to get a couple little streaks. Now's a good time if you feel like you made those lines a little too intense, turn off your sketch and just take a look at it. See how this 6B is. Can if two solid of a streak. So I can go to that layer and go to the smudge tool. You can go to any brush for smudge. I'm going to try this artist's CRAN, Jens artists CRAN and go to a pretty small size. I'm always nudging this side because that helps this lobe Have a nice clean edge over here. Alright, that's nice. I like that. Just kinda soften the edge of that six B without smearing and don't smear too much or you're texture, We'll just go away. All right, we're gonna leave that for now and come back to it later. It's gonna look different once we get the more color added to the stem here too. So I'm on the clipping mask above the stem. And I'm gonna go to the really dark green right here. And I'm gonna go to 6B. We're just gonna do some streaks along the top here or the front just to make it look so you can have this swirly look to it. And again, we're not going for a realism. So we're just gonna do the darks and then the lights. The lights will give those raised rich the Ed, the look of the raised rich. Oops, I just double tap on that image. That's interesting. And I need to figure out where I want to be placing that image so that it isn't my workflow. Because I think I usually tap over here and I want to make the base dark. So I'm gonna go back to the dark and I'm just gonna go ahead and dark in it a lot down here because that is kind of sunken into the pumpkin and will be more shadowy. I did my darks and lights on the same layer. So I need to be careful as I'm adding more darks not to cover up those lights. And you can see just with two colors of streaks on top of what we had, it made a huge difference. And we're gonna come back to the pumpkin, the main part of the pumpkin. Add one more clipping mask. Set that to. Let's start with just multiply for now and go to a pretty dark. Let's go back to this dark orange and see what that looks like. It's going to test it out. So that's where really dark Linear Burn. Turn the opacity down that might work. And let's go to back to, let's do the artists CRAN streaky. So this is a nice way to get a little bit more. Shadowing. Might want actually turn that back up a little. Overlay works for shadowing on some colors for oranges. It kind of tends to make it a little too vibrant. And I went to go ahead and go back to 6B and just define the sum of these lobes a little bit. All right, so there is your pumpkin, go ahead and spend a little more time on it. You can change the base layer of the stem, maybe go to 6B for the eraser. And give it a little bit more precisely in there. Based on the shape of the lobes there. If you need to come down more, you can go to the liquefy tool and push on a small size. Distortion and momentum don't need to be too high. And just kind of pull it down. There we go. Alright, next step is the mushrooms.
6. Mushrooms: Alright, I grouped my pumpkin layers together and I'm turning those off, turning my sketch back on. And let's see if we can change this image. Import. And let's go ahead and pull in this mushroom first and then make that smaller. All right, I'm gonna switch to autumn when palette here to these colors right here. So let's go to this sort of middle of these three Here. I'm going back to dry ink as my base, so I have that same texture when you do that for all of them. I'm doing my stems on one layer and my tops on one layer. Really roughly done. Don't worry too much about any of this. The biggest worry on this mushroom is the very top. Tap and hold the eraser to get your dry ink as the eraser brash indice kind of clean up any edges. This one will be hidden that you can clean that up to. Alright, and go to a new layer. Goto, the slightly darker color or discarded. These have got these three colors right here, the middle of these three. So we have these three darker ones and then these three lighter ones, such as the middleware n for this. And I'm going to choose the middle one of these three For the tops. And I need this one to actually be in a layer that's under this stem. So we're gonna go ahead and grab that when three finger swipe down, cut and paste. And then I can drag that one below the stems. So sadly, that means I need Clippy masks for each of these. Or you can do alpha luck. So let's start with, this is going to help you learn a little bit between the difference between alpha luck and clipping masks. So if you two-finger swipe and all of these and just get them all locked. That means that the only ink that's going to be happening is where there are currently pixels on the page. So we're on this layer rate here. I am going to choose this fourth color down and just add right to the top of it and leaving a bit of that rim. So this darker color I can see around the edge. I'm gonna go to the super lightweight and go to 6B. And just make some of my gills. So this is one of the things about alpha lock that's different from Clippy masks. If you goof, I can't go erase that because it's going to erase this to. So if you have plenty of layers, you can do all of this on clipping masks. And just for a little bit of variety and going to get some more colors in here. You can use some of the streaky brushes I provided. I don't want you to have to feel like you do it exactly the way I am, exactly the way I do it. I'm doing it differently than I did it the first time. And and then you'll have something that is more unique to you. Be find maybe a super streaky brush you like the look of down here, can just use that. Now, I can go to a clipping mask. Now I only need when clipping mask for this mushroom top side, I saved a layer by adding those colors on the main layer. So that's one of the benefits. And now I can do some fun stuff with clipping masks and I can erase more. So for example, if I want to go to this lighter pink here, and let's actually go ahead and use Lyapunov and add some texture up here. But I don't want the texture to be down here. I can erase that and it won't erase anything that I don't want to have erased. So let's see, I'm going to erase with this dragging as well. So I can erase that down here because it was just a clipping mask. So I can do all sorts of things up here and not worry about the fact that it's blobby NH, down into here and erase it later. Actually really like that effect that just happened. I'm gonna keep that and keep adding. And as I'm playing around with these sort of fun mushroom colors. The other thing I have here is this spotty stamp brush. And that one is fun to do on its own layer as well. And then you can play around with blend modes as well. So you can play around with the opacity if you just want it to be a subtle effect, you can play around with blend modes to get a totally different look entirely. And that also depends on the color you use for the spots. And again, any spots that are out of place down here, you can just erase them. I am going to go back to our blobby layer that we just did and to dry ink. And I'm gonna go, let's go to one of these super light colors over here. And I'm just going to, oops, I don't want this on a clipping mask. So we'll do this at the very end and we can do it up here on, in another layer and just do it over the top of all of these mushrooms at once. But what we're gonna do is add some spots and we want them to go up past the edge of the mushroom, which is why we don't want it to be a clipping mask. So we can add those type of lumps and bumps at any point. But we can do it later. We can do the same thing because we're on a layer above all of this. We can go ahead and apply it to the whole mushroom illustration if that makes sense, and that saves on later. So I'm not doing a layer for that, just for this mushroom AND a layer for those bumps just for this mushroom and doing one layer for both. But then that cannot be a clipping mask where it'll just clipped to whatever's below it. Alright, let's do the stems. The stems are both on one layer there, alpha locked. I went to get some darker areas on there. So we choose, chose this middle color first. Let's go ahead with this streaky artists CRAN streaky. It doesn't show up to match. Start go into different colors. Have fun with texture. Lighter colors in the middle will help it give it a rounder lip. So I switched to, hey, streaks. You can go to a pretty light color with six B. And you can make that little scary-looking, maybe even a lighter color. I'm looking at this blobby area and I really like it, but I want it to lighten up a little bit. So I'm gonna go back to Lyapunov And just erase. It, just adds a little bit more texture because it was a little too solid. I know I'm bouncing around between different measuring layers. So I'm gonna go back to this, this measure on top. And a clipping mask loops. Good of soft Lyapunov on this color right here, same as we did over here. Alright, I really like this. Mushrooms. Have fun with that.
7. Acorns: I'll rate up next is the acorns. New layers, new picture, import. And we're gonna go to dry for our base layers. Let's switch back over to this autumn too. And let's do this kind of middle Brown right here. I have three sets of green, brown, brown. We're gonna do our REF twig loops is to a smaller size for that. And really become a hand go up B. And that twig goes under the acorn. It isn't thicker end down here. And I want to make sure that it him shows that even though the acorn will be on top of that later, a new layer, four acres. Let's go to this more golden brown for these tops. And remember we are coloring in so we can keep those textures of this dry brush. So I have an interesting dilemma here. I have, I want this acorn on top of the branch. And I went this acorn underneath this branch. And I don't want to use a million liters and have those, you know, have a whole bunch of layers for this and these acorn tops. So we're going to use mask, a Layer Mask. And we're gonna do that on this acorn top layer that we just did. So tap and tap mask. And now you need to make sure you're on black. What I do is I turn the opacity down so I can see exactly where I want to erase. And it's not really erasing is just going to look like you're erasing. Say you want to be on that layer mask. And I went to expose this stem, and right now this is on top of it. So if I can erase, it's not erasing again, it just looks like erasing. I can get some of this this part to look like it's erased right there. It looks like this stem is on top now. And then I'm going to turn the opacity backup. Right now. You can't really see because they're both dark browns, but we're going to change the colors a little bit, so that'll be more obvious later. All right, and now we need a layer for these acorns and we want that to be under. So we're gonna go to this stem layer and add a layer. So we have a layer above the stem, under these acorn tops. And let's just get this brown right here. We can always change it later. I'm going to go up in size a little bit. If you don't like how rough the edge is on that, you can go tap on eraser, tap and hold. It'll bring you to the dry ink as eraser. It is bring it down, bring the size down a little bit and kind of clean up those edges. And we need to pay a little attention to this guy over here. So for this guy, I'm gonna make sure I have that brown underneath here. I need to clean up this top. I can do that since I already have a layer mask on that, I'm gonna go ahead and to stick with the Layer Mask, use black. And this is going to make it look like it's erasing. I'm gonna go to a smaller size so I can have a little bit more control. And I need, what would I need if you want to look back at the reference photo that is need the edges to be a little more pointy here. So it looks like it's wrapping around the backside of this bottom portion of the acorn. Just like that. So you can either erase. We're just used the layer mask. Since we already had the layer mask. The Layer Mask does count for your, in your layers. So it's not super ideal if you are working with fewer layers. Alright, so we have our base coat for everything now, base layer for everything. And now we need a clipping mask for each one or alpha lock, just like we did with the mushroom. So you choose if you're getting low on layers, just do alpha luck. I'm gonna go ahead and do clipping masks. So let's turn our sketch layer off just so I can see better. I know that my point is up here on this one, so I need to remember that. Ok, I think I can remember the details. I need to remember. I'm going to go ahead and add a clipping mask to this one. I'm going to add a clipping mask to this line. You just treat it even though it has that layer mask on it, you treat it the same way you would normally treated. And I'm adding a clipping mask to my stem. The stem would be a pretty easy when does to do alpha luck though. Alright, so on the stem, let's just get a fun kind of smearing brush. This, getting some texture. So I am not going for the streaks and kind of wiggling my brush around. Let's go to the clipping mask above these acorn tops. We're gonna go to darker colors for this. First, we're gonna get some shading on here, so it's going to be darker around the edges and also around, just around the base. The base median is right along the edge where it meets the acorn. That's really important. It's gonna really give that look of it being curved over. Alright, so that was some subtle texture. And I want some more solid texture. I'm gonna go to 6B. And I'm gonna go even dr. And with this one, you can get some of the little bumpy scaly. And you just need a few. And then adding maybe when more color, a little bit lighter, smaller size gets them some lighter Wednesday as well. And now the clipping mask for the occurrence, the base, the bulb of the a coronation say. And let's go to this brown right here. And we're gonna go to Lara Puna. So what's going to give it that roundy look is if you have darker sides and a lighter center. And then just like we had a darker edge along these tops, you're gonna want it to be a little dark up there as well. I'm feeling like I'm going to change the blend mode on this and also get a darker, more red, brown. Alright, let's have fun with blend modes here for a second. So that gave it that nice reddish brown lick and I like that. So we'll keep that. And then I'm gonna go back and alpha luck that main layer instead of adding another could be mask. And I mean again, some highlights here. Let's go this color right here. And as streaky brush artists CRAN, squeaky. And just get some streaks, you go down in size a little bit. Hopefully you can see that. I'm gonna do my highlights on these as streaks. Very subtle streaks. If you want something a little bit less subtle, you can't go back to 6B, maybe lower the opacity and add a couple of nice more obvious streaks as well. This is under that dark layer, so it's not going to show up to too much. And I want to add a little bit of highlights on our tops here as well. Let's go ahead and alpha lock that layer and go to this brown right here. So we used this brown for that layer. So we'll go to a little bit of a lighter color. Lara Puna, mile entrepreneur. And just get, let's get some highlights. And finally that's back to the stick. And going to alpha luck that I'm going to add a really dark brown. And I'm just gonna do as six BCE. I can make a nice jaggedy look here. Squiggle, squiggle. Not swirly. I don't want I went jagged squiggles. And there is your acorn stem.
8. Leaves: All right, it is time for the leaves. So I'm going to import from an album loops. And I'm gonna pull in this picture right here, just for all those beautiful colors, make it smaller. I have all of my other things grouped together, have MY acorns, may machines, and my pumpkin. And I have some empty layers up here. Let's do some leaves. I am doing them on separate in separate groups. So back to dry ink. What Heller for dry ink? Good question. I'm gonna do some deep reds and oranges, some greens, maybe some golden. So whatever the base color is, it can be completely covered up with another color at the end. So doesn't matter too much way. Start with, I'm gonna make this one a red one. Let's do this sketch here. I can see part of the stem here. Alright, so you get that base the way you want it. And we're going to alpha luck these. And we're going to add some just a little bit of a variety of color right, to the layer themselves. So let's just kinda focus on the oak leaf. You look here, there's greens, reds, oranges. This Lyapunov brush is really fun for that. So since we're on alpha, Lockett's actually changing the color of the layer itself. It's not adding on top. It's getting rid of some orange and replacing it with another color. So it didn't really matter what we started with and we might not end up with any of that color at all. I barely pressing and I'm swirling around. So if you tap it adds a lot of color with this Maradona. And then if you swirl it, kind of mixes it around. And I'm also thinking about the fact that my big orange pumpkin is right there and I don't want it to blend in too much with that. So we need to think about colors that are going to make it stand out. Maybe, maybe we'll focus more on the greens, especially along the top edge. Alright, and let's turn that off and turn this one on. Have fun with color. Maybe I'll avoid green in this when altogether. And now we need Clippy masks on top of those. And I'm gonna go to my 6B. Let's see, I am on top of the oak leaf and I'm going to turn it to Linear Burn. And just, I'm on this kind of yesterday yellow right here. And I'm gonna see what that looks like. Yeah, like that. So we're this playing around with the veins now. And using blend modes for this is fun because depending on what color is underneath it, it'll look a little different. And because we did so many color varieties underneath, then it's just fun to have to see what we can do. Alright, I'm gonna go to a slightly darker color, orange or, and darker for this one so it stands out more. So you can see this is a good example because from light to bright, too deep, I like it. On right? Let's turn reference layer off and see what we have here. We need to move. We don't have to, but we can move the oak leaf. Let's group it together. And we'll group that together to move the oak leaf ender, that other leaf. That's how we had it in our sketch, but you can change that. Turn our other things on and our sketch off and see what we've got. I think I might put another leaf under the acorns, but we need to still add some shadows and the texture in the background. And maybe a little bit more details. So we'll see what we end up doing next.
9. Texture Paper & Shadows: Alright, if you Google free textures, you will find some great places where you can download some nice textures for a variety of things. I've made a lot of brushes. I don't use background textures very often, but I really liked the look a bit with this particular illustration. So let's go to pixels first. And it already is on texture photos. You have all these options here. I'm going to choose paper texture. So you can look at information on pixels right here and see how it's a free use photo place. And I'm just gonna go through and pick a texture I like. And if it's not the right color, it's okay. Because we can change that. You can change that with hue saturation and brightness. Oh look, there's even more options. We can choose old paper. Alright, so you go through, I'm just gonna go ahead and tap this one and add to photos and see what parchment looks like. Now. All right, so this can be very time consuming as you can see. And then you can also go to couple other sites. Let's go back here. Free stock textures and search paper. I believe this site lets you do a certain amount per week or per day. And up there's that same ones. You'll probably see a lot of similar wins. And you can just download. That one might be nice. Download, download. They can see it downloading right here. So it's got an edge down here. I'm not fond of, but let's bring it right into procreate. We can edit that out. So when you do that, it usually is in the first spot of your gallery. So there it is. I'm just going to copy that later for now. I'm not sure I'm going to use this actually. So we're gonna go down here to the bottom, three finger swipe down and paste. Make that a little bigger. And I'm reducing the opacity of it as well. So we have that option and then we also saved a photo. You can insert a photo and insert that. Oh, and look, it ended up being pretty small. So if it's small and you increase the size to fit your canvas, it might not be the best quality, but if it's just a texture, might not be too bad. Kinda like that. I'm not fond of the color, so we can go into hue saturation and brightness for layer. We still have the other texture on. It works though. And especially maybe if we put that on multiply, we can get both of them to work together. There's Linear Burn. So you just play around with and he textures. You find that there. I have the opacity down on both layers, which means if I change the background color, that will also change the whole lick and just get the overall look alike. I need to add another layer and I'm going to go on top of my textures, made paper textures. And I just want to get some shadowing down in underneath here. I'm going to do that with my soft laura Puna. And let's just start with Sam, middle brown here. And I'm going to be kind of blobby and messy. And I'm going to change the blend mode so I'm not looking so much at color right now. But I just want to get some shading in there. So it doesn't look like it's floating. And I'm seeing the sun details. I went to add, I went to darken up my pumpkin down here. And I went to get sat em a little bit darker shadows onto the MY acorn tops. And I want to add a little bit more pizzazz to my machines. So we're gonna do that next.
10. Finishing Details: All right, finishing touches. So with finishing touches, there's a couple ways you can do this. You can go to a layer that's above everything and try to set that maybe it to overlay and go to black and play around with some, some things here. The C, That's a really great color on the mushrooms. Who, and maybe you have to be more precise because you're not on Clippy masks, but you can get some nice deeper colours. Darker street scene. I'm gonna do another layer over the whole thing and go back to this body stamp. And let's just go to wait and see what happens. So overlay is different depending on what color it's on top of. So it's very yellow over here. We could potentially turn the opacity down and have that work really well for everything. And it keep looking. Soft light works really well. And the opacity down. Alright, so we used this body stamp with pure white and turned it to soft light. And opacity is about 54%. And that just gives these spots here and everywhere else you added spots. You can see whether it's a light or dark. You can see those spots. You can go ahead and add more. Now the opacity is down on the layer. So anything that you add is going to also be at a low opacity. And I wanted to come back just a little bit and darken up pumpkin. And when they go to a clipping mask on top of that Pumpkin, I'm gonna go to a pretty dark color and let's just go to the SoftLayer Puna. I'm not it's not looking dark right now because I'm, I'm changing the blend mode. So I just added some brown there and let's see what that blend, different blend modes due for that. I really like that will multiply, worked really well. And I'm going to erase with that same brush just some of the middle sections of these kind of lobes. So they look a little highlighted. Right? There we go. And obviously if you can play and play and play along with all of these different things. And then I also wanted to show you at the text feature. Just go to add at text type, Happy Fall or whatever you went a Type. Select all, go to your fonts. I think this is a bug because it just de-selected everything. So I'm going to select all again, good to my fonts and this time it worked. So hopefully they fixed that. And because now everything is still selected and you can pick whatever font you like. Let's see what do I lay? Milk? This one's called milk run. And I have a class on installing fonts. The beginner class talks about installing fonts, and I think my valentine class does too. So I'm not gonna go into detail with that, but you can have a whole bunch of fun with fonts or hand letter.
11. Forgotten Leaf Sprigs!!: Let's go ahead and go down. We're gonna go under everything. I am going to stick with probably just 6B. And go to this middle green right here. And we're going to draw one. So I'm going to draw it where we can see it. And you can do this however you like. So any leaf shape you like, any size. Again, I'm going to color them in to keep the texture of the brush showing. Once you have that done, Alpha Lockett, and just play around with some colors, some lighter. You can go to that soft Lyapunov again. And you're going to end up keeping the texture of the brush you used for the base. So the six B in this case. And then you're adding more texture with the brush that you use for this part right here. And once you get that done, go ahead and add a clipping mask and a pretty light color back on 6P. And just get a little vain down the center. Change the blend mode if you like. And now you can group those together, duplicate the group, move him around. And second, wherever you want. You can also change the hue, saturation brightness on that base layer. And maybe make one a little darker. And maybe make one a completely different color. Let's try that and see what we can get out of it. And go to some of the links that we have over here. Do a nice deep maroon like that. I might change the veins on that when so that they're dark. Right now. They I used a very light color on the vein. So if you went to alpha Luckett and change the color of it, you can easily do that. Alright, and that is how you do just the leaves in the background. And tons of ways to do that. I can't wait to see your projects. I would love to see them either in the Facebook group or both on the Facebook group and in the project section of skill share. And of course on Instagram you can find me as well. All of my links for Facebook, Instagram and everything are in the profile on my skill share profiles so you can find me in all those places. Have fun and happy fall.
Jennifer Nichols, Leila & Po Studio
