Stylised Floral Illustrations using Stamp Brushes in Procreate

1. Introduction: Do you ever find the most perfect and beautiful flower that inspires you to create an illustration, but then you look closer, and think, I can't draw that, it's too complicated. I couldn't even draw it once, never mind drawing it 10 times to make a pattern? Well, there's more than one way to draw a flower, and it doesn't have to be photorealistic. Most floral designs you see are stylized in some way or another. As you train your artistic inner eye, your own signature style will start to emerge as you see flowers, and the shapes within them through your own unique lens. My name is Rebecca Flaherty, and I'm a full-time Illustrator and Surface Pattern Designer from the UK. I'm pretty much addicted to drawing florals, and I think most of the artwork I license probably has flowers in it somewhere, as well as creating art for print on-demand platforms like Spoonflower and Threadless. I also have experience licensing my designs directly to companies. I'm happy to be able to share that knowledge with you, so you can learn from my real life experience and occasional mistakes too. In this class, you're going to learn how to use Procreate stamp brushes as your secret weapon for sketching out cohesive and aesthetically pleasing designs. I use these stamps in my sketch layer, so that when I come to trace over them in my final designs, I have some uniformity, but also a unique hand-drawn feel for each motif. I'll show you how to set up a master brush template canvas, with guidelines at the exact angles for any number of pencils. As we push beyond the limits of Procreates default lines of symmetry. By the end of this class, you'll have picked up lots of ideas to create your own stylized floral illustrations. We'll be using the liquefy tool, and filling our illustrations using reference layers. Learning how to create balanced compositions, and using shading layers and texture to add depth through our artwork. We're going to be using all these skills to create three different types of floral illustrations using our stamp brushes to sketch the designs out. First up is a groovy '70s floral with basic geometric daisy shapes. Then floral envelope design as we explore side view florals. Lastly, a super quick and easy floral pattern using a layer mask to create overlapping petals. I hope the biggest skill you'll develop will be how to look at any flower, and break it down into simple shapes. Adding or taking away details to re-interpret it to fit your own unique style and aesthetic. If you don't feel like you find your signature style yet, then I want you to note that, looking at flower shapes and simplifying this way was how I really discovered and distilled down my own signature style. Exercises like these are so good for spotting common threads in our work, and leaning into them. This class is perfect for beginners who are just starting out on their artistic journey, but I've also created it to be a fun and leisurely class for all levels. There are certainly a few tips and tricks included which will be useful for praise too. You don't need any prior knowledge to take this class. All you'll need is an iPad with the latest version of Procreate plus an Apple pencil. Are you ready to get started? Then let's go. 2. Overview and Class Project: For this class, we're going to be creating three projects as we work through. You can have a go at just one or all three. If you're a complete beginner, then I recommend starting with the more simple designs and then working through the projects in order. We'll start by making a very simple flat floral stamp brush that can how to draw any number of petals with perfect symmetry, pushing past the limitations of the four or eight lines of symmetry which the Procreate software allows. Then we'll use these simple stamps to create a groovy flowerpot illustration. This style of '70s illustration is all about the hand-drawn feel. By using the floral stamps as a guide and then tracing over them freehand, we get that perfect hand-drawn cartoony look. The second project you'll create is a floral envelope illustration. For this design, we're going to look at using more complex side view, three-dimensional stamps. We'll really lean into exploring how to style it ways and find your own ways of interpreting them. We'll use either our own photos or copyright-free reference material to create our own flower shapes. You'll then have a set of floral stamps which you can put together to create an envelope flowers illustration. For our third project, we'll look at how to combine the simple floral shapes from lesson 1 with the overlapping layers from lesson 2. We'll use shading and layer masks to create depth and dimension from our floral stamps. We'll create a flower that has perfectly spaced and overlapping petals and then use it to create a really simple and fun pattern that you could use to make a fun wallpaper or an Instagram stories background. You are of course, welcome to copy any of the designs I make in order to follow along with the class but just remember that you wouldn't then be able to sell that design. If you want to create designs which you could sell in places like Redbubble, or Society6, or license, then you will need to come up with something new and unique, and I can't wait to see what you do create. If you want to use the brush set that I use for the illustrations in this class, then you can download that for free for my website and I'll put the link for that in the cheat sheet, which you can download from the class resources section. Don't forget to upload all your work to the project gallery, including any work in progress shots. If you get stuck along the way and would like help or feedback, in the lesson videos, I'll show you how to upload a low resolution file from Procreate and how to upload it to Skillshare website. Seeing all your beautiful project is my favorite part. I'm especially excited to see all the beautiful floral designs from this class. In the next lesson, we'll get started. 3. Setting up a Brush Canvas: Here we are in our Procreate gallery. Let's create a Canvas to make some brushes, shall we? Up here on the right, we're going to tap this little Plus icon. It's going to bring up a whole range of Canvas sizes we could choose from. You've probably used to the idea of going big or going home when it comes to illustrations, but when we're making brushes, we can keep things small and manageable. The brushes themselves will never be used in a final piece of artwork, so it doesn't matter if they're a bit rough around the edges or if they pixelate when we make them bigger. We don't need to fill up our iPads with huge brush canvases or put a strain on the iPad by using huge brush files. If you've got a smaller or older iPad, it's going to be thankful to you for this, especially. I make my brushes on 1,000 pixels square Canvas, which is plenty big enough for making these brushes. I've got default brush Canvas down here. Let's have a look at how to set them up. Tap on this new Canvas icon up here. Let's enter the dimensions. We want 1,000 pixels for the width and 1,000 pixels for the height. We'll keep the resolution at 300 DPI just because that's a good number to stick to as a default and everyone's maximum amount of layers is going to be a bit different on this depending on their iPad spec. Don't worry if you've got a different number in there than me. We're going to be only using a handful of layers. Have a tap up here where it says, Untitled Canvas, and you can name this one brush creating Canvas or something similar to that. The color profile isn't important as these brushes aren't going to be used for final artwork. But because I tend to create all of my artwork in the sRGB profile, because that one's good for digital printing, I'm just going to leave it as it is. Is a good idea to be in the habit of consciously checking and selecting your preferred profile each time. Funny story, one time I was working on a drawing using the exact same color palette as I had used in another, and I couldn't, for the life of me, understand why the green I was using was in a different spot on the color scale than it was on the other one. I kept going back and forth between the two documents, really confused as to what was going on. I finally realized it was because I had accidentally created the new document in the P3 color space, which has got a much wider range of colors. What was fully saturated in the sRGB document was a third of the way across the spectrum in the P3 document, and I could go even brighter. Anyway, the color profile doesn't matter with this brush document, but just remember, it's good to be in the habit of checking each time. The time-lapse setting, we can leave alone, unless you want to change it down to low quality to keep your file sizes down. If you're recording a time-lapse, that video data is going to add to your overall file size depending on whether you have it set to 1080 or 4K. It could be adding an extra one to 400 megabytes per one minute of video, which is something to consider if you don't have a big storage capacity on your iPad. If you've never actually used time lapses, and you want to turn that off completely, you can do that over in the main iPad settings. We come down here, and go to Settings, and we scroll down to Procreate. You can toggle disable time-lapse and turn it off, and it won't record any time-lapse data for any documents you create. Just don't forget that, if you have got it turned off, if you ever do want to go back and watch a time-lapse, you would need to turn this on back before you start drawing. Let's go back over to our Procreate document, and under Canvas properties, I'm going to change the background color to black, because when you make a brush, it needs to be drawn in white. Setting this document color to black will save us having to switch the background color every single time we open the document if we'd left it as white. It doesn't actually have to be pure black. You could make it in your favorite shade of pink if you want to. Now those are all done, we can tap on Create, and that will open up our new document. Then if we go back out into the gallery again and we tap on this new document icon, and go all the way down here, you'll see that you'll be able to open that brush creating Canvas each time you want to make a new brush. Although that said, you'll probably want to keep using this one and duplicate it or add more layers to it. As we're going to be adding in some guidelines that you'd then have to make from scratch each time you wanted to use it. But if you did delete your master by accident, you've got that one done in your settings to add a new one. Let's go back into our document, and let's set up these guides. We're going to go out to our Actions tab and tap on Canvas, and down here where it says Drawing guide, we're going to turn that Guide on, and then you'll see that a grid has appeared over our background. Now let's tap on Edit Drawing guide. In this screen, we can change what type of things the Drawing guide does. You can change the size or the angle of the grid, you could change it to triangles, you can put a vanishing point on using the perspective or you can use symmetry, which is the mode that we're going to be using today. Incidentally, if you ever want to reset any of these, like why we've made this a crazy angle, if you tap on the blue dot, and then you can tap Reset, and that will bring it back to normal. That's the same for perspective as well. You can tap Delete and reset it that way. Symmetry. The symmetry tool in Procreate is so much fun to play with as you'll find out in a second if you've never used it before. In your options down here, you've got several different lines of symmetry that you can choose from. Vertical is going to mirror it left and right, so you could use that to draw something like a heart. Horizontal, is going to mirror top and bottom, so you could use that to draw a dog bone. Quadrant is going to split your Canvas into four sections. What you draw in one quarter will be mirrored in all the other four quarters. Radial gives you the option to have diagonal lines of symmetry, and whatever you draw in this one, will be mirrored in the other eight. Rotational symmetry will rotate what you draw as well at the same time. Honestly, you could make a whole class just about the symmetry in Procreate, as indeed many other teachers have. If you've never experimented with it before, just pause this video, and have a bit of fun playing around with it, and get to know how it works. It's so mesmerizing and relaxing. Just be careful not to get too side-tracked. Once you've set up how many different lines you want to use there, you can then tap Done, and you can go in here, and start to have a play. Then you can go back in here to edit the drawing guide, and change those things, again, if you want to, just tap, undo on that, and we can go back into our Edit Drawing guide. The options we want, let's stick with radial. Let's make sure we have rotational symmetry off for this, and you want the Assisted drawing on. If you have Assisted drawing off, you'll just get the guidelines as a visual guide to drawing, whereas with Assisted drawing on, it will actually do the mirroring part as well. You can also change the color and thickness of these lines. You can make them more or less noticeable. I'm going to bring this all the way up, so it's easy to see why we're filming. Then, now when we go up to our layers, if I just tap "Done" up there, and then we go up here to our layers, you'll see this layer, now says, Drawing Assist underneath the layer name. Then, if we now do some drawing, it's going to do that mirroring for us. I'm going to tap with two fingers to undo that. You can see how easy it is to get side-track by how mesmerizing it is to use. This Drawing Assist works on a layer by layer basis. If I add a new layer here, you'll see this one doesn't have Drawing Assist on it. To get that on, you need to tap on the layer, tap "Drawing Assist," and then that will turn on there. If you want to turn it off on a layer, you just do that again to turn it off. That can be toggled on or off during drawing, and it will use the last settings that you chose in the Edit Drawing guide screen. That's our Canvas, now ready to draw on. In the next lesson, we'll draw some fun flower shapes using the symmetry tool. 4. Simple Flower Shapes: Let's pick up our pencils and get drawing, shall we? We're going to make some super simple 70s flower pattern inspired daisies for this first project. The first flower is going to have eight petals. We can use this radial symmetry setting to help us out with that one. But we actually need to turn it off first because I want to draw the circle for the middle of the flower, and that's going to be easier without drawing assist on. On this layer that we created above that, which doesn't have drawing assist on, we can just draw on that one and then merge it down. Otherwise, you would turn drawing assist off on this layer, but we'll just draw on this one for now. I'm going to set my brush color to white for this one. You always need to make brushes in white if you want them to be fully opaque. Let's just get the palette that I want to be working from and choose white. For drawing these, you can use whichever your favorite sketching or drawing brush is. I'm going to go down here to the pencils in the sketching section, and I'm going to grab the Narendra brush for this one. I've got it turned up as big as it will go. I think I've probably increased the streamlining a bit on this one as well. Let's put that up to 50%. There we go. I want a little bit of smoothing while we're drawing these. I just double-check again that we've got our brush in white. Let's start by drawing this circle in the middle. I've recently learned a much quicker way of drawing perfect circles after watching Peggy Dean's class on gestures in Procreate. You might be used to drawing, holding, and then tapping up here to make it into a circle, but what you can actually do if you draw a circle, hold, and then tap with your finger, that will snap it to a perfect circle when you release, which is much quicker than the other way. Let's look it again. You draw, hold, tap and it snaps to a circle. Draw, hold, tap and snap. Just going to quickly undo those. It's so much quicker doing it that way than the old way I was doing it of holding, tapping up here, choosing a circle and then tapping again to come off it. I'll link to you Peggy's class about gestures in Procreate so you can check that one out if you want. Once we've got a circle, we want to put it into the middle of the canvas in the center. We're going to tap up here on transform. Then you want to come down here and make sure in your snapping settings that you've got magnetics and snapping both turned on, and both of these sliders up as far as they will go. Then we can drag the circle right into the middle of the canvas. What you want to see is those two orange lines crossing over. Then you can release that circle as it's now centered on the canvas. Now, we either need to turn drawing assist back on if you had it turned off, or in our case, we'd have been merging it down onto a layer that already had drawing assist on. Now starting in the middle, we can draw our first petal in, and you'll see it mirrors it all the way around the canvas like that, because we've got radial turned on. We could also draw petals going out to the side like this, but I want my petals to all be the exact same size and shape. I'm going to get that by rotating the first ones we drew. Let's go up here to our layers and duplicate this layer by swiping to the left and tapping duplicate. Now I'm going to tap transform, and then I'm going to tap this little green node up here. Then in this box you can type the exact number of degrees that you want to rotate by. There's 360 degrees in a circle, and we want to spread eight petals evenly around that. 360/8 is 45, so let's type 45 into that box. Obviously, you can also drag it and move it around manually. If I just change that back to zero in a second, you can grab the green node and you can drag it around and snap it to the diagonal, but it's a good idea right from the beginning for this class to get used to the idea of using some maths right from the start, as we're going to be relying on it for some of the more tricky shapes later, but don't panic. I'm going to be putting all the numbers into the cheat sheet for you. We'll cover that later. We know that we want to move it 45 degrees. You've snapped it, but as I said, get used to it right from the beginning, tapping the green node and typing the exact number you want in there. Once that's in place, you can set it by tapping the transform arrow again. Now we've got a perfectly spaced identical petals. But the thing is, I want more of daisy-like design in a stylized 70s style, with all my petals being completely separated from each other. You can see where I've drawn it here that these petals are actually overlapping. If you imagine, if I draw a line coming down here between the two symmetry markers, that's marking the halfway point between the guidelines. Anything I draw which goes more than halfway past here, if I pass that line, we're going to get some overlapping. What we're going to do is make some guidelines. We can put those on another layer and then we'll be able to see where that halfway point is. Let's just undo that. Let's go back to just having our circle there. We can use that again in a second, but we'll just hide that layer for now. I'm going to add a new layer on top. We want to turn drawing assist on for this one. In this new layer, we're going to draw a line going from the center, right up to the top. Then we're going to hold it until it snaps, and then I'm going to let go. If you'd drawn something that was a little bit more wiggly like that, you hold it until it snaps, line it up with the middle and then you can let go. Now we've got the center of our document marked out. Just going to go and edit the lines of symmetry up here and edit drawing guide. If we were just using a vertical symmetry like that, we wouldn't actually be able to see where the middle was if we didn't have this white line that we drew going across the middle. It's useful to have this first guide setup which marks the center of it. Let's put that back to radial. This layer here, I'm going to rename it as center. I'm going to duplicate that layer. I'm going to just lock this one underneath. We'll leave that one there. That's our first guideline setup to mark the center of the document. This one which we just duplicated. Let's duplicate that one again. I'm going to hide this one at the bottom, which we locked. Now what we need to do is rotate this one. I'm going to tap on the transform. I'm going to tap on the green node and rotate it 45 degrees. Then it's going to snap to these halfway lines that we've got there, the diagonal ones. What we want to mark is the halfway point between these two so that we know how far we can draw without overlapping. If we snap these two together, we pinch the two layers together. If we duplicate this layer again, tap on the transform arrow and we want to mark the halfway point. These are all 45 degrees apart. 45/2 is 22.5, so we will rotate this by 22.5 degrees. You can see now we've got the halfway point marked out. What I recommend you do is reduce the opacity on the bottom one to something around 50, and then your middle lines, halfway ones, you can take to something like 25%. Hopefully you can see those lines. I would normally keep them in white, but I think so that you can definitely see them clearly from the camera, I'm going to undo that opacity change, and I'm going to fill them with black. I'll fill up those layers. Then I'm going to fill them with black and then bring the opacity down to about halfway on this one, maybe a bit lower because it's darker. Then the halfway points we can take right down like that, and then that should be a bit easier to see. Once you've got those two in the color and opacity that you want, you can pinch those two together to merge them. We'll call this eight lines. Then let's bring our circle back up to the top, and we can make that one visible again. Also need to change my brush color back to white because we're making a brush. Now we can go back to this layer with the circle on it. When we draw our petals in, we just need to make sure we don't cross this line. Just going to make sure that I'm on the right layer. On here, I'm going to zoom in a bit so I can see a bit better. I'm going to make sure I stay within these guidelines. I've kept it inside of the line on each side. Now, we can duplicate this layer, tap the transform, tap on the green node, rotate it by 45 degrees, and now we've got all eight petals nicely separated. That's our first flower done. We can merge those layers together. I'm just going to grab my eraser, zoom into the middle here, just make sure it's not too big, and then get a better eraser, turn the size down, and then I'm just going to erase all of these middle lines in there. Then we zoom out and I'm going to hide the guidelines for now. That is our first flower done, a daisy with eight petals. But if you want to make a flower with maybe five or six petals in it, in the next lesson, we'll find out how to go beyond Procreate's default symmetry tool 5. Beyond 4 Lines of Symmetry: Let's have a look at making a five or six petaled flower. We'll start off with the five petal flower first. The first thing we need to do is to make a guide similar to this one. Trigger warning this will require some maths, but all the numbers that you'll need are on the class cheat sheet PDF, which you can download from the resources section. You can have it open on your phone or printed off next to you as you work. You won't need to remember all these numbers or work them out each time if you don't want to. Just stick with me through this next bit and know that all the numbers are written down for you to use later. Let's add a new layer to work on and let's go and edit the drawing guide for these five petal flowers. For these ones, we just want to have vertical symmetry turned on. Now that we've lost our center marker, let's go and turn this one back on so that we can always see where the middle of the document is. On this new layer, I'm with drawing assist on. I might actually unlock this and reduce the opacity on that one a bit so it's not too distracting. On this new layer I'm with drawing assist on. Draw a line from the middle to the top again and snap it to the center guideline. Because we have vertical symmetry on, it's just repeating left and right, it's not also going to repeat top and bottom or off to the corners. With the other drawings that we made because they were all coming out from the middle in all directions and it was also repeated down here, they were centered on the document. When we tap to transform, we had the whole document selected. Whereas if I tap now, we only have this part here selected. If I rotate that, it's going to rotate it around the middle of that selection. What we need to do is to be able to rotate the whole document around the middle of the document. If we add a little corner mark in each of these corners, it's going to take the selection all the way to the edge. Now when we tap to transform, it's going to grab the whole layer, which includes everything going right up to the edge, these little marks we drew so now we can rotate this whole layer around the middle of the document, which is what we need to do. Let's now duplicate this layer. We're going to tap Transform. This time we want to spread five petals around this 360-degree circle, 360/5 is 72. That's what we need to put in this box here. Tap that again to set it and if we wanted to rotate this layer again. Because the marks we put in are now off to the side on the Canvas, we still only have this tiny bit here selected. What we'll do, rather than putting in more markers on the layer each time, we'll go back down to our original layer, the one that has the corner markers on it, and we'll just keep rotating and duplicating this one. Let's duplicate this again. Tap to transform. This time, we want to move it around by another 72 degrees further than this one. We want to move at 72 plus another 72. That's 144 altogether. Let's tap the green node and put 144 in the box. Now at this point, we can merge all three and we can flip this over to the other side because we've got all of these lines put in on the left-hand side. We're going to pinch to merge these together. I'm going to duplicate the layer. Then we've still got the corner markers in. We can grab the whole canvas and we can flip it horizontally and then pinch those two layers together. Now we have our five lines of symmetry mapped out there. Those are what will be our five lines of symmetry. Now, we need to mark the halfway points on those. We've still got our corner markers in place from before, so we are still going to be able to rotate around the center. Let's duplicate this and tap to transform. These gaps are 72 degrees. Halfway is going to be 36 degrees. I'm going to go and turn the bottom center guideline off, so that's not confusing us. Now we've got these halfway points marked. I'm going to change the opacity on these like we did before. I'll bring that one down to about 25 and then bring this one down to about 50% or maybe a bit higher, so you can see it. Hopefully, you can see these. I've got the bottom layer about 50% and the top layer somewhere around 25. I can merge these two together and I'm going to name this one five lines and then we'll go ahead and lock that layer. Let's drag it down to the bottom. We'll keep all our guides at the bottom and then work on flowers at the top. Let's start by drawing a circle for this five-petaled flower on a new layer. I'm going to leave drawing assist off on that. For next, we need to draw the circle. Draw, hold, tap, and snap. Then with snapping turned on, we're going to center this in the middle of the document. Just keep moving around bit by bit until you get those orange lines crossing over there. Now we can turn drawing assist on this layer. We know that we need to keep this side of that halfway line when we draw this petal and we've got our vertical symmetry turned on. Let's just draw a petal in like before, something like that going up there. Then we're going to duplicate and transform this around the canvas in the same way that we did to make the guidelines. On this layer, we need some of these corner marks and I'm just going to hide this one under here, so it's not distracting us. On this layer here, we want to add the corner guides in so that we have those. Now with that there, we can grab the whole canvas and rotate it around the middle. Let's duplicate this layer. Let's tap to transform and it was 72 degrees for a five-petaled flower, so let's type that in there. That's petal 1 in and then we go back down to the original layer, the one that has the corner marks on it. We'll duplicate that. Tap to transform and we want 72 plus another 72, so 144, and now we can merge these by pinching them all together and we can duplicate it again. Tap to transform and because we've got one side in, we can flip it horizontally and now we can merge those two together and grab our eraser to take out these corner marks and zoom in and get the bits in the middle of the flower as well. There we go. That's a perfectly symmetrical five-petaled flower. That's our five-petaled flower done. To cement that process into our heads, we'll repeat it for a six-petal flower and then you should be able to do it for any number of petals that you might want to use. Let's hide this layer. Guides first, we're going to draw a line going from the middle to the top and then we're going to add the marks in the corners so that we can transform and duplicate this around the center. I'm going to duplicate this layer and we want six petals. So 360/6 is 60 degrees. Don't forget, I'm putting all these numbers in the Cheat Sheet for you. We're going to tap the transform type in 60 up here. Then on the first layer that we worked on, the one that has the corner marks on it, we duplicate that again. Tap to transform and we want to rotate it 60 plus another 60, so that's 120 altogether. Now the thing with a six-pointed guideline, is we could have actually drawn all the way down and then we'd be rotating the other side at the same time as well. But because you might not always know in advance whether your petal would be repeated at the top and bottom because it isn't in the five points. If you look at that one is not repeated at the bottom. We'll stick to doing this just one line going up from the middle and then have many number of degrees around. But what we can do when you realize that the next one is going to be lined up with the middle. For this six point, we can merge these together, we can duplicate, and we can actually flip this one vertically. We can now merge those two together, duplicate it, transform it, and now we can flip it horizontally and merge those together. That's our six lines of symmetry in there. We want to now mark the halfway points on those. Let's duplicate this layer again. Tap to transform and this is 60 degrees, so halfway is going to be 30. We'll put that in the box up there and then we've got our 30 degree angle mark right there. Now I can bring the opacity down on these two and then bring this one down a little bit further again. Then we can merge these two together. Let's rename this one and call it six lines. Then to draw the flower, we add a layer up at the top here. We'll leave drawing assist off to start with. We'll draw our center circle, so draw, hold, tap, and snap, and then we're going to center this in the middle of the canvas, making sure we have snapping on. Now, we can draw our petal staying within these center guidelines here. Then on this layer, let's be smart and we'll erase these middle parts before we do the transforming so we don't have to erase all of them at the end. Let's add our corner guides on this one, and then we're going to duplicate, tap to transform type 60 degrees up in the box. Then we're going to grab our bottom layer, duplicate it again. Then we want 60 plus another 60, which is 120. Because we know this is going to make the next petal down here, we can merge those together. We can duplicate, tap to transform, and we can flip that vertically now. Duplicate it again, and then transform, flip horizontally as well. Then what we need to do is erase these corner marks up here on this one and that is your six pointed flower. I'm also now going to whiz through a time-lapse of making guides and a flower with nine points, so that you can see what I mean about needing to put more petals in on this side before you get to the point where you can flip it over. I'm going to whiz through this on a time-lapse as the steps are exactly the same as before. It's just a case of using different angles and this is playing at double time. If you want to watch it in real-time, you can adjust the play speed to know 0.5, maybe turn the sound off, and then you can see exactly what I'm doing in real-time. All the numbers that I use in this one will be in the cheat sheet as well. Now we have our first four basic flowers made and you know how to adapt this to any number of petals. In the next lesson, we'll learn how to turn these into brushes. 6. Stamp Brush Setup: Let's turn this flower into a stamp brush, shall we? Step 1 is to get this into the clipboard. Go to the layer, tap it, and tap "Copy". You may have that in your clipboard. Now, we're going to tap on the brush menu, come all the way up here, and you'll see there's an option to add a new brush set. This is the set where we're going to keep all of our stamp brushes that we make. Give it a name that makes sense to you for that. I'm going to call mine flower brushes. If you're feeling cute, you could add an emoji at the beginning or something like that if you wanted to as well. You can see from my brush library that I'm obviously quite often in a cute mood because all of mine have emojis on them. In your brush set up here, tap this little plus icon, and this is going to create a new brush from scratch. We're already going to have some of the most basic defaults in here, and there are a lot of settings in here. That's a good thing because that's what makes Procreate such an amazing piece of software to draw with. Think of all these gorgeous brushes that are available to us, which mimic things like real watercolor. But it can feel a little bit daunting if you ever want to make your own brushes. But the good news is, we don't even need to look at most of these settings here to make a stamp brush. We only need a few. What we'll do is to make our way down this list, looking at very few settings that you will want to adjust and experiment with. Starting at the very top, the first thing you want to do is turn spacing all the way up to the max, and you'll see here that this brush is made up of this circle shape. If you have it all the way down, all those dots are placed so close together, it comes out as a line. If you take the spacing all the way up, there's a lot of space between those shapes and that's what we want. Each one of those will be our stamp. The next setting down here is stabilization, and those should all be left at zeros. We don't need to touch the taper settings either. The next one here is shape. Shape is the main section that we're going to want to work with. This here is your shape source. You can see at the moment is this circle shape, which is why when I draw over here, we're getting circles on the drawing board. What we want to do is to swap that circle and have that be our flower shape. Tap on "Edit" up here, and then we're going to tap on "Import" and then tap on "Paste". Then you'll see your flower will appear down in this box. If you find nothing happens, then let's just have a look at why that might have been. I'm just going to tap "Done" for a minute actually, so cancel. If you find nothing happened, then go back to your layers, try tapping the layer again and try copying that again and trying it one more time. If still nothing is happening, then go and check that your flower is definitely white and not black. Just going to fill this layer with black, and then I'm going to copy this. If I go into the brush here, and if I try and paste this in now, nothing is going to show in there. It has to be white or at least not pure black for this to work. If you've drawn in gray or any other color, you'll find that when you paste in, it would show up in the box, but it would not draw a full opacity. I'm not on a white layer here. Let's add a layer above there. If you use black, you'll get a zero opacity brush, and you won't see anything. If we fill this layer with a gray now, and then let's copy this layer, and then we'll paste this into our shape source. It will show up if you've done it in color or gray, but then when you go and draw with it on your Canvas, it won't ever draw a full opacity unless you've used pure white. Let's go back and change this to white on our flower layer, and then we can select it, we can copy it. Then let's go back into our brush, import and paste that pure white in there for this flower. Now, you can see here where we had dots before. Those have now turned into flowers because we've replaced the shape source. Can do a bit of testing here on the drawing pad. Can you see how it's reacting to the different pressure I'm using? If I do really soft taps, we get a really faint flower, and if I do really heavy taps, we get more dark ones. That's a great feature to have with a drawing brush, but it's not so great in a stamp brush, and I want all of these to be uniform and the same opacity all the time. Let's go and fix that. Come down to Apple Pencil, and under pressure, where it has opacity, bring that all the way down, and you'll see that those are now all full opacity. Another setting you might want to change is the angle or the rotation of the flowers. You can see here that these are all facing perfectly upright, and at the same angle. You might want to build in a bit of variation, especially if you're working on a pattern. You might want to add a bit of randomization to the angle. On this one, we come up to shape. Both the scatter and the rotation sliders affect the rotation angle of the flowers. Honestly, trial and error and having a bit of a play around will be your best options here. If I want a bit of subtle rotation, I'm normally set both of these somewhere around 20%, and that gives me a good bit of rotation built into it without it being too much. You might want a bit more or a bit less. It may vary for each different brush that you use. Always have a bit of an experiment with this one. You may even want to leave it off altogether, and adjust the rotation manually with the selection tool after you've drawn a flower. This setting is very much a personal preference, so do have an experiment and see what works for you. The only other setting that you might want to use in here for your stamp brush is the size in the settings down here in the properties tab. If you find that you're working on a big canvas and you can't get your stamp brush big enough, you can come in and adjust this slider here to the maximum size, and you could take that all the way up and then you'd be able to do much bigger stamps. Let's clear that mess up a minute. [LAUGHTER] You could draw that any size you wanted to within reason with this set to maximum. You can take the brush much bigger than 100%. It's going to get more fuzzy and pixelated, but that's okay because we're just sketching with it. If we tap down here, you'll see in here for the preview, we've got a preview of the albeit spaced out brushstroke. We've got a few instances of the flower. If you just want to have a single image of the flower like I've got for these ones here, to get that, you go into your brush settings again, and up here where it says on the properties tab, use stamp preview. If you turn that on, that's then going to just use one instance of it. You'll probably want to turn that down to something like 10% for the preview size, and then you should have a nice, easy to spot clear image of your brush in there. Now, we can test our brush out. Let's just add a layer in here, and we can test out the brush. You can see you can have the size all the way up, and this is absolutely huge, or you can go all the way down to tiny. One last thing that you might want to do is to name or author your brush. You can come up here to your brush, tap on the edit icon and let's come down to the about brush tab. You can give your brush a name. I'll call this one Daisy Brush. You can put your name in as the person that made the brush, and you can add a photo or logo if you want. Then in this section down here, you can sign your name. Then if you tap "Create New Reset Point", then those details will now be saved for that brush. Those are the simple steps for turning your illustrated shapes into a brush. I'm going to quickly go over them one more time because it's always good to watch a second example to help you remember a process. What I would suggest you do, rather than creating a new brush from scratch each time, once you've made one and you've got those settings in there, you wouldn't want to always have to change the stroke path and opacity. What I would do is to swipe left and duplicate this brush, and you can come into that one and just edit the settings that you want to each time. Let's grab a six petaled flower on this one. I think it's this layer here. Let's tap "Copy". Then editing this one that we've just duplicate, we'll come to the shape tab, tap "Edit", import, and paste in our new shape. That's pretty much all we would need to do each time. You could come down by the brush tab and rename this one. Maybe put Daisy Brush 6 because it's got six points. If I'm honest, if we come down here, you'll see I'm absolutely useless at renaming the brushes I make, and I don't rebother renaming them at all, and it just keeps adding a one every time I duplicate it. But if you want to rename yours, that's the thing you could do. Now, we've got this six petaled Daisy Brush as well as our five petaled one. I just want to come in here and show you a couple more things that you can do over here. One thing you can do is, if you wanted to rotate this, you can rotate the brush in increments of 90 degrees by grabbing it with two fingers and swiping it round. This can be useful if you've got a stamp which you want to use in a specific direction, and somehow your canvas has got turned upside down, which can sometimes happen if you've flipped your iPad and rotated the canvas, and you'll be wondering why the brush you're using has suddenly started stamping sideways. If it's too late to flip the canvas back the other way, you could come in here, rotate the brush and get it to the angle that you need it at. You can always come in and rotate it back again later. Sometimes I've even ended up accidentally rotating my brush canvas, so all the brushes I made in a particular session were 90 degrees off. You can see down here that there's one that I never bothered moving around. If you want to change that, you can come in here, edit the shape, grab it, and rotate it back the way it's supposed to be. That is how you would do that. Now that we've covered everything you need to know about creating your stamp brushes, once you've added yours into your new brush set and are ready to move on. In the next lesson, we'll learn how to use them to create a groovy flower power illustration 7. Project 1: Flower Power Floral Pt.1: For this drawing, let's use an A4 or a letter sized Canvas. Feel free to go bigger if you want to. I just didn't want to make something so big that you might not have enough layers on a smaller or an older iPad. If you do go bigger though, just note that some of the brush sizes and other settings I mentioned might not be exactly the same as the ones you'd need to use. I thought we'd go for a classic psychedelic 70s background with our daisies just sprinkled over the top. We could either draw in all those waves just in free hand or we could have some fun with the Liquify tool. Shall we? I'm going to grab any old sketching brush to do with this and any color is fine to use for this layer as it's just our sketch layer. I'm going to start by drawing some wavy diagonal lines up here. These don't have to be perfect, they don't have to be spaced out evenly or anything. It's just to get something to work from. Then we'll go up to our adjustments up here and we'll tap on "Liquify" down at the bottom. I've got my size at 76%, pressure is all the way up, distortion all the way down, and momentum all the way up too. We're going to use push down here on the left. Then what I'm going to do is just use the liquify tool to really push out and squeeze up some of these lines so we get a really cool, wavy distorted effect. This tool is another one that's really fun to play with. Don't be scared to have a good play around and shift things around too. It's really fun. I think I'm happy with that. But as I say, have a play with this to get to a point where you've got some nice wavy lines going on there. Once you're done with that, you can tap the adjustments again to come up with that. Then we're going to add a layer above this. Then I'm going to use from this brush set the 70s line work brush smooth, which is the same as in airbrushing. It's pretty similar to this hard airbrush down at the bottom, but it has some extra smoothing on it. I'm going to use this 70s line work brush smooth there. I'm going to use this brown color here. One of the key elements of 70s illustrations like this was the use of heavy outlines and they often use brown shades instead of black. I'm going to use this reddish brown color here and making sure I'm on my new layer and got my brush size at 9% at the moment. Let's just see what that looks like. I might want to make that a little bit bigger. I'm just going to go ahead and trace over these lines and where I've got a bit of wave stuff going on there, I'll just free hand those and I might add some here here at the bottom as well. We're going to come in and just trace over all these lines. These ones, I want to be nice and smooth which is why I've got the smoothing on this brush. I always find tracing is really relaxing to do. I never mind a bit of tracing work. For these ones, we'll just add a bit of free hand in there and maybe some done there and a little bit up there. Once that's done, I'm going to hide this sketch underneath and we'll rename this layer lines. Now when it comes to filling this in, we could just drop our colors down in-between like that. But the problem is we wouldn't be able to come back and then edit them very easily because it's all on the same layer. What I'm going to do is add a layer underneath. On this layer, if you tap "Reference", that's going to use the pixels on this layer as a guide when you come to use your color fill on the other layers. We can go on this layer and it's just going to fill that bit based off what is up here. Let's carry on doing that. I think I'll do three colors. That will be every three lines. We'll have 1, 2, 3 and it'll be on this one. I think that part up there needs to be done as well. I think that's everything. Then we'll add a new layer underneath. We still got this one as our reference layer and we'll choose a different color and then we can color drop onto this one as well. Then we can add a new layer and I'm going to use pink this time. We can just use color drop to fill in those other bits. I miss this one here. We can go back onto this layer, fill it with this greeny brown color. At this point, that's looking pretty groovy already. I think this would make a nice background or phone case just as it is on its own. But let's add some flowers to this, shall we? 8. Project 1: Flower Power Floral Pt.2: Before we move on, there's a thing I wanted to show you that I learned while I was doing research for this class. Did you know that as well as color drop fills, Procreate has swatch drop fills. If I add a layer here, and we'll drag it up here so that we can see what we're doing, it's here, did you know that you don't have to select the color here and then drag it in from the top corner up there? You can long press on the swatch and then drag that over and use that to fill like that. How cool is that? That's something I learned while I was researching some of the stuff for doing this class. I found it in the Procreate Handbook. It's a great place to go to look for any extra info on Procreate. Anyway, back to the class. Let's just get rid of this. There we go. You should now have your lines on a layer up here, and then each of these color fills on a separate layer underneath. Let's tap on this one and turn this reference layer off for now. I'm also going to name all these layers and group them. These layers, I'm going to call this one Stripe 1, I'll call this one Stripe 2, and then finally Stripe 3. Then we can group all of these together and we'll name this whole group Background. That's going to keep everything nice and tidy. Honestly, I wasn't always such a layer structure, neat freak, but it does save so much time in the long run. It's worth forcing yourself into doing it by habit. The great thing is, because we've kept all these on separate layers, we can now easily change the color by Alpha-locking and then choosing another color to fill that layer with. You can just tap on that and tap "Fill Layer". Nice colors there as well. Or we can come up to Hue and Saturation up here and change the color that way as well. Just undo that. I'm going to keep these colors as they are I think. That's why it's so important to keep your colors on separate layers. Now I'm going to work on our sketch layer for the flowers. Let's come above our Background and we'll add a layer for the sketch. I'm going to keep my brush white now, because I think that's going to be nice and easy to see. Let's start with nine-pointed flower. Let's add in a few of those. I might do some in a slightly different size. Let's do 1, 2, 3. Then let's do some six-pointed ones as well. I'm going to make these a medium size, not too small, too big. Let's go for this medium size. Don't forget to do some going off the edge as well. Then maybe we could do some five-pointed ones as well. Let's just grab this brush. Let's just put a few of those off the edges. I want to really capture the lovely cartoony hand-drawn feel that 1970s artwork like this had, so tracing over these instead of having these perfectly uniform stamp shapes is going to look just perfect. Figure out what size you want everything to be and just stamp them all up. Go for a range of sizes. For these ones, you'll probably want the rotation and scatter set to about 20% as we looked in the last lesson. As I said, if you want to fine tune any of the angles, you can always select and then rotate and change those angles yourself. Once you're happy with your layout, we are ready to trace over them. We'll add a new layer above this. I'm going to use this brown color on the brush again. I'm going to use the 70s line work brush, but not the smooth version. Again, you could use the hard air brush for this. This one doesn't have as much smoothing on it compared to the other one. If I just draw here, you can see we can still get a little bit of wobble going on there. It's not smoothing as much as the other one. We compare it to the other. You can see this one gives almost as perfect align as what's underneath. Also you can't draw very fast with this either. That's the whole reason that we're tracing over these because we want that little bit of wobble in there, and we don't want to just use the stamps that we've put underneath. Let's start up here on this one. For the circles in the middle, I don't mind those being perfect. Remember the quick way to draw those is to draw your circle, hold and then tap to release, and then you'll get your perfect circle. Now, ideally, what you don't want is little bits poking out into the middle of the circle like this. If you're finding it hard to not do that, what you can do is draw all of your circles in first. I'll do that quickly now, and then I'll catch you up in a second. Once all your circles are drawn in, come up here and grab the Select tool and choose Automatic down here. Then you want to tap in the middle of all of these circles. The threshold doesn't matter too much because we only want to be drawing outside them, not inside them. You don't have to worry about the threshold as long as you're selecting most of what's inside, we should be okay. Just tap all of these. You can drag to the side and change the threshold if you want to. You can bring it as high as it will go, but without selecting everything, so you can pull to the left to reduce it. You want to be as high as it can go without making everything blue. That should be good, I think that's about 90%. When you've got all of these middle selected, tap "Invert", and then that's going to select everything apart from these middle bits. We'll be able to draw everywhere except there. Then you'll see these bits are grayed out in the middle. If we draw our flowers, petals, you'll see you won't be able to draw on that bit in the middle. Much easier. What you need to do now is just go round and trace in all of your flower petals like this. Missed one down here. Just finish this one off. Once you've finished your tracing, you can deselect all of that. We can also come in here and hide our sketch layer now. The next job is going to be to fill in all of our middle parts. The same way we did using these stripes as a reference layer, I'm going to tap on this flower layer and make this one a reference layer now. I'm going to add a layer underneath. Choose my yellow, and I'm going to fill all of my middle parts yellow. These colors are looking so lush. Once we've got all those in, we're going to add another layer. This one can be above that one. Still using this as a reference, we can use white to fill in the petals. Or of course, you can use any other color that you want to choose. Quickly go around and color-drop all of your petals in. If you've accidentally tap on a line, you're going to see this halo effect. If that happens, just tap with two fingers to undo and then you can go back to filling in just the petals. There we go. I forgot this little guy down here again. Let's just fill that one in. Now we're done. Just to add to this a little bit more and go with the hand-drawn vibe. What I might want to do is add some little lines coming out of the middles of these daisies. I'm not 100% sure if I want to keep that though. We can do it on another layer and then we can always toggle backwards and forwards and see if we like it or not. I'm going to use this brown color. Then in the same way that we selected the middle parts so that we didn't draw onto the middle, I'm going to do a similar thing, selecting these yellow parts. Let's just remove this one as a reference layer to start with. Then we've got the yellow on this layer here. Let's just rename that so we can see what we're doing. Then we've got the petals, and then we've got the daisies up here. Then this one we'll just name extra lines. Very imaginative. For the middles, if we select this layer, tap it, and then tap to select, and then we invert the selection. Now we have everything apart from the middle selected. We can grab a brush and we'll be able to draw from the middle outwards and not draw on the yellow parts just to make sure we're on the right layer though. Now we can start drawing from the middle outwards. Don't worry about all these being the same length or the same angle. This can be really freehand, really freestyle. We're going for a retro cartoony, hand-drawn fill with these. If we wanted perfect flowers, I'd probably use a different program or software to do this, probably Illustrator. I wouldn't be freestyling them like this. Although that said, I think I do want to have the same number in each one. Where I've got three in this one, probably do three on the rest as well. Once you've gone over all the lines, you can deselect everything and then you'll be able to toggle this layer on and off and choose whether you want to keep it on or turn it off. I think I like mine, so I'm going to leave it on. But if your gut is telling you something different, then that's totally cool and you should listen to it. Taking this in your own direction is definitely a good idea. Now that we've finished all the illustration, you might want to have another play around with the colors, but otherwise we're all done. You can now save a JPEG copy and upload it to the project gallery. I'd suggest saving a small low-res version, which is always a good idea when posting your work online. If you want to do that, come out into the gallery, duplicate this canvas. Let's open this one here. Come up to your actions and we will go down here to where it says, Crop and Resize. Then we're going to tap on "Settings" and we're going to turn on Resample canvas. You'll see that lock these dimensions up here. We can tap on the height and we can change it to pixels. I would say, change the height to something like 1,000 pixels. You can change the DPI to 72, nice, low resolution, small file to work with. You can tap "Done". Here you see this has now changed. The image is looking a little more fuzzy and blurred around the edges. But if you think it's going to be that sort of size on the screen in the project gallery, that's going to be perfect, and it's a great size for uploading when we don't want to put full high resolution work in there. Once you've done that, you can save it by tapping "Share". What am I doing? Up here, share, and then save it as a JPEG into your camera roll. Then you can open up Skillshare in a web browser, tap on "Create Project". In this section, you can tap on, "Add Image", add a photo from your camera roll, and then upload it. That's now in the project gallery because it's a nice small image. It's going to upload very quickly. I can't wait to see all of your groovy illustrations. In the next lesson, we'll look at how to create a slightly more complex, stylized, three-dimensional flower. 9. Side View Floral Shapes Pt.1: For this lesson, you're either going to need to be someone who can draw flowers 100% from their imagination. Or you're going to need some reference material. You can either use your own photos. If you're anything like me, you probably have a camera roll chock full of weeds and wildflowers ready for this very occasion. You can also find lots of inspiration online. Pinterest is a go-to for a lot of us, and I love it too. But I want to stay away from using Pinterest to find reference images. Because with Pinterest, you're mostly going to find images of illustrations on there illustrations that have already been stylized by another artist. We want to stylize the flowers in our own unique way, so in case you're not familiar with it, let me introduce you to unsplash.com. Millions of fantastic photos from lovely photographers who under the Unsplash license give us permission to use their photos in any way we like. I've put a link into the cheat sheet for this collection that I've created of side view flowers, which you're welcome to use as a starting point. Grab yourself two or three photos that you would like to work with. A quick space-saving way to grab a flower because we're only going to be working on a small canvas for this, is to take a screenshot with however you do that on your iPad and then rather than having this whole thing saved as a screenshot, if you crop it down to just the flower that you want, you're going to get a much smaller image there. If you want to add it as a reference, then you would need to save it to your camera roll. But if what you want to do as copy and paste it directly into the Canvas, then you can come up here, tap Copy, and then you can then delete this screenshot. It's not saving up space on your camera roll and then you can go back into procreate and swipe down with three fingers to paste. That's a really quick way of not having a camera roll filled up with screenshots or a downloads folder filled up with huge high res photos. If you do want to download the full high resolution version, you can all see tap here, Download, and then it will save to your downloads folder on your iPad. But you should find that a quick screenshot is fine here, especially as we're only working on 1,000 pixel wide Canvas. Let me have a look through the photos we've got here. I think I'm going to use this one here as a reference. I'll just take a screenshot of this one. I think I will save these ones to my camera roll so that I can do them all in one go. Tap "Done" on that one, save to photos and maybe let's choose this one here. This looks like quite an interesting one to work with. We'll just save that one to the camera roll as well and these ones here, these bell flowers, so I think they're going to be a good shape to use as well. Let's just crop this down to maybe just the individual flower actually. Then tap "Done" and save it to photos. Have a look through all of these photos, such through Unsplash, and find any flowers that you'd like to work with. Then we'll go back over into Procreate. Let's open up a brush creating Canvas. You could use the other one and duplicate that, but we're not actually going to need to use any of the guidelines that we set up in there for this one. I'm just going to start a fresh Canvas. As I said, there's two ways we could bring the flowers in here. We could insert a photo like this. Then choose one from our camera roll. Having it actually in your procreate document like this is especially useful if you want to trace over a flower. The other thing we can do to get it into our canvas because we have that photo of the first flower on the clipboard. You can swipe down with three fingers and then paste it into your document like that. If you've just been copying and pasting one flower at a time, that would be how you would do that without having it clog up your camera roll. The other thing we can do is if we tap up here and we tap on Canvas, and then turn on reference, and then tap on "Image." Then import an image here. You can bring an image in from your camera roll and have it floating off to the side of the canvas, not actually in your document. This can be useful if you're filming a time-lapse and don't want the photo in what video you're going to share. That's three ways you could bring a reference image into procreate. This next part is probably the trickiest part of the whole class for me to teach with the Maths and the other aspects is just step-by-step instructions. But breaking down these flowers and how they look is going to be different for everyone and it comes down to your own eyes, style and intuition. I'll do my best to narrate what I'm thinking and seeing as I go, but as you're working, it's okay and it's a good thing if other ideas are jumping out at you. The more times you do it, the more you'll start to lean in your own way of seeing and interpreting things. To start with, I'm going to hide these and I think I'm going to bring in that yellow daisy that we were looking at. I'm going to tap up here, around here till you get back, come up and then you can import and bringing the daisy. Just going to tap the corners to resize this. When I'm thinking about how to simplify a flower like this, I try and break it down into about three or four layers. The middle layer would be the pollen and stamens, which you can't see from this angle. But that doesn't mean that we can't add them in if we want them to be there. The bottom layer will be a petals at the back, which again, we can't see, but that doesn't mean we can't add some out at the top. Then the top layer would be these petals at the front. If I was going to do a fourth layer where I was adding this body part of it, that will be an optional fourth layer. My illustrations are very stylized and whimsical, so I'm not going to be trying to capture every single petal and every different angle here and I'm not going to hesitate to change up the shapes if I feel like it. Your style might be more lifelike though, and you might even want to trace over some of the parts of a flower, which is totally allowed by the way. That's the very reason we used Unsplash to get these photos because these photos are licensed to be used in this way. However, grabbing a photo off of Pinterest, that's another photographer's work. They have not given you permission and you have not sought permission to trace over that photo and use it in your work. I think with this, flower, I'm going to make it symmetrical. I'm going to turn on my symmetry in the drawing guide and I want vertical symmetry like that, so that's okay. Just resize this one again. I think I'm going to start with the top layer of these petals. I'm going to grab my brush, I'm going to use this draw ink one and we're going to be drawing in white. Let's just add a new layer and turn on drawing assist for this because we want it to be symmetrical. I'm just going to draw some cute daisy petal shapes coming out. I'm not going to worry too much about angles and overlapping and stuff. I'm just going to go cuteness here. I think that's, that's probably okay for first attempt. If you wanted to add more petals, you could do that. I've only used three here. There's lots more petals up there. If you want to put wavy lines on the top, if that was the thing you wanted to do. It's just a case of like zooming in and figuring out which details stand out to you and which ones you want to incorporate into your designs. You might choose to bring these lines that you can see coming out of the middle there. You could add those in like that. Although this is a shadow where we've got two petals overlapping, you might decide that that looks quite cool as an element and you could incorporate that into your flour and stylize it that way. Yeah, have a look at all the little [inaudible] that you can see on the flower and decide what you want to incorporate into yours. You can even add things that aren't there. Like you might decide you want to completely change up the shape on the end of these petals and put some frilly bits like that. Anything goes and just go with what stands out to you and your imagination, so that is the top layer, the first layer. Although like I said, we can't see the bottom petals here. We know they're there and in terms of if we're thinking about those stylized daisies that we drew in the last lesson, imagined in turning those forward and imagining that the petals are there peeping out at the back, we can definitely add some of those in. I'm just going to put those in here. The back looks like an okay angle and then I'm going to take my eraser because these one is here at the top layer, we can erase these parts where they overlap. I need to make my eraser a bit smaller there. Then for the middle layer, I said we could imagine like the pollen and the stamens, like the center circle of the flowers that we drew. Obviously we can't see that from this angle and the photo, but again, we know it's there and we can add it in any way that we might want to draw it. I'm going to put a semi-circle coming over there and then we can, like before erase the bits that overlap with petals that we aren't going to see. That's the middle layer done and you could possibly, maybe put some little stamens out like that as well with the bits on the end of them. Then erase those bits where they've overlapped. Then sometimes like I said, I might add this part in here, which I think are called the sepals and receptacles. But don't quote me on that. I'm not a botanist. But yeah, you could imagine if your stomach is like coming up here, you could have something coming out from this central line and just coming out in a nice body shape like that. If you wanted to add that on as well. We've broken this daisy shape down into one layer for the background petals. Then we've got a middle layer of the stamens and any bits that come out of the middle. We've got the petals on top and then a fourth layer of this, the bud part where it joins onto the stalk. That's just one way of looking at this flower and interpreting it. I'm just going to show you the one that I came up with when I was doing a run through for this earlier. I hide these layers here. Looking at this flower yesterday. This is the brush that I came up with for this flower. Another completely different way of looking at the same flower. I've added more of these petals in here, the narrower fitted Morin. I've picked out some of the lines and added them in. Drawn lots more petals in the back and gone for a completely different shape underneath. Even the same artists looking at the same flower on two different days and you'll see and pick out different things each time you look. Obviously to add this as a brush, you would copy this layer and then find one that you've recently added. You can duplicate that. Tap on to that to edit the, go to "Shape", "Edit", "Import", "Paste." and that will be your new brush added in there. 10. Side View Floral Shapes Pt.2: Another shape that I like the look of was these beautiful bellflowers. I love these flowers. Let's have a go at tackling these. I'm going to hide this layer now and I'm going to turn drawing assist on because I'm going to do these symmetrical as well. See I love these bellflowers and I use the shape a lot of my drawings. If you have the right brush. Let's go back to my recents and find this one. You could easily just draw these in two dimensions and that would look nice enough. But looking at this and trying to look for my three layers in there, I think I would possibly have the whole silhouette shape as my top layer, the top petals. Then I might try and draw some stamens inside, like you can see some of that, but I might try and make those longer so that they stick out at the top of the flower a little bit more. What's the word I'm looking for. With the perspective, [LAUGHTER] like the top of the flower is here, I might instead add some petals coming out of that behind. Let's have a look at how that could look. Let's just start. I think I'll draw it the other way up. This one is pointing upwards. I'm going to follow the shape of this nice curve here because I like that. This middle pointy one comes up a bit higher than these two on the edge. Let's stop there. Might be a bit too high. Just undo that and then curve those round like that. I might go for that as my silhouette, my top layer. Then we could imagine that there's two extra coming in-between those on the back here. Might be a bit too pointy. Let's have another go. I think they might be a bit too pointy. Let's just undo those. Let's try and make them with the pencil not the eraser and make those a more curved shape. That looks better I think. That would be our base layer of the flower. Then for the middle layer, I think it would be nice to add some stamens and again, coming out just here. Then instead of circles on the end of these, I think I'm going to do like oval shapes, like Lilly pollen stamens. The ones that stay in your cloth if you don't cut them off. Then let's erase these extra lines that we don't need there. Then instead of drawing like that bud shape at the bottom. Well, we've got these frilly bits coming off at the side. But instead of doing that, I think I might take that inspiration to add some line work up into the flower so I can see what that looks like. Maybe a bit more spaced out. I think I'll use that as the basic shape for my bellflower. We'll go to this layer. We'll tap Copy, go and duplicate our last brush. We can find it. I've got no idea which side I was working and that doesn't really matter. We'll just grab a brush. Here's the trial run one that I made from this yesterday, which again is slightly different. I've gone for more rounded, bell-like shape on this one as opposed to the more like twisty curve. But let's duplicate that one. Tap on the Edit icon and go to Shape, Edit, Import, and Paste, and we are done. Again, another example of the same artist looking at the same picture on two different days and you will get different results each time. I'm very much looking forward to seeing all the different shapes that you create when you're working on your class projects. But let's have a look at a couple more examples before we start using these brushes. Let's have a look at the, I think it was a blossom petal. Let's bring that one in. Blossom flower. Let's hide this layer and we'll add another one. Again, I think we'll use drawing assist here because I'm gonna make this one symmetrical as well. Let's turn on drawing assist. Let's turn this around and have it facing this way up. These blossoms that essentially a side view of the like, the five petal shape. If I can find one, do I have one here? Up here. This five petal shape that we made earlier. I'm going to imagine that being folded in half and then with the stamens in the middle. We've got two petals there at the back and then three at the front. But we might change that as we go to make it fit. Let's grab my sketching brush and I'm going to start by drawing these two petals in at the back, and then that will be my bottom layer. Then although with these three at the front, we're looking at those very much site on. I'm going to imagine them more curled up, and like standing up a lot higher. Let's have a go at drawing that one in there. Then this will may be a bit shorter in the middle. Then we can grab our eraser and erase what will be the overlap there. No. That's not the right one, getting confused. That bit. There we go. [LAUGHTER]. Then do I want to add an extra one in the back there? No. I definitely don't. I do feel like these might need to come up a bit higher angle maybe. Maybe I'm going to draw different ones first. Maybe we'll draw the back ones with three. Well the front ones with three, let's draw these front petals first and then nope select like that. Do I want to try a more curvy angle? Let's see how that looks. Then maybe we can put these two in the back coming out there. Then I'm going to imagine that we can see maybe a little bit of something or maybe take that up a bit higher. Just don't do that. A little bit of something peeping out in the middle there. Then we can put the stamens poking out in-between the leaves there as well. Maybe make them a bit longer. We can put the tops on the stamens, some little dots, and then erase any parts that you don't want to see. Then we can again copy this layer. Then go to our brushes. Find the one that we were just using. Again, I can't remember which one I was just using, but any of these is fine. Just swipe to duplicate, tap to edit, and then go up to Shape, Edit, Import, Paste. That is another brush added to our brush set. When I was filming, I forgot that I had already done the yellow flower Daisy. You're actually going to get two versions of me interpreting this flower. I was going to edit today, but I think it's useful to see even more ways of looking at the same flower. Looking at this Daisy, it has quite a few more petals than the last one. I think I'm going to use symmetry for this one as well. I think for this one, also I'm going to add a fourth layer and put this bud part on down here as well. Let's start with that layer. If I'm using the right brush, that is. Just grab my drawing brush and I'm going to make a bowl shaped semicircle down here at the bottom. That's going to be my top layer. Then the next layer down would be these top petals. I'm going to imagine a middle part on this, although we can't see it. A circle with some stamens in the middle. Then again, although we can't see them, there is a backlayer of flower so I might put some more petals poking out the back as well. Let's add the top petals first, which is roughly draw these in until I get them how I want them. Then just erase the scruffy bits. These already need stamp brushes so they don't have to be perfect, but you can erase some of the scruffy bits of you want. Then it's up to you how you interpret the shapes of these petals, that's going to be individual to all of us. For example if we zoom in here, you can see they're actually quite flat or possibly even go down a little bit at the top layer so that might be something you want to incorporate into your design. I think I might change mine and just erase those little extra bits there. You can change up the shapes on the ends of the petals or for these, you might focus on the lines that come out from the middle of the flower. Or you might even want to add some extra embellishments on there, some little dots or something like that. Or these parts here, although that's shadow where you've got overlapping leaves, you might decide that's the way you want to stylize your flower in this illustration. We've got our top layer. Next down, we've got the top petals. Now I'm going to imagine some back petals creeping in-between here for the parts behind the flowers, maybe make them a bit lower. We can at least pretend we've got some perspective going on here. Then if you wanted to, you could maybe add some stamens as well on these. I'm going to put some coming out from just in-between the petals there. She's big circles on the end of these actually. That's how I'm choosing to interpret this one this time. Once you've got a design you are happy with, you can then copy it and go to your brushes and then find a recent one to duplicate. Then go to Edit, Import, and Paste. Then you've got that brush ready to use as well. A couple of points to note when you're adding these brushes is that they almost certainly won't be centered on the layer. If you wanted to transform this, make sure that you've got snapping on and turned all the way up. You could center it before you copy it if you wanted to have it centered on the layer. Let's copy that now and go and edit this one. Import, Paste. If you wanted it to be centered so that you've got more an idea of why you're stamping it. You probably also want to have the scatter and rotation turned off for these side-view shapes. Because with these, you'll likely want to stamp these and then use the select tool to change the rotation yourself to get the perfect position on the Canvas to suit the angle of the stem that you've drawn for them. Once you've drawn all of your flowers, and you've got two or three different motifs to use and then you've added them as brushes, head onto the next lesson and we will use them in another illustration. 11. Project 2: Floral Envelope Pt.1: Let's have a look at project to this floral envelope illustration. I've got this document open on an A4 or letter size Canvas. But as before, go bigger if you want to. You can either freehand your envelope or you can use the template to draw and trace over which I've put in the class cheat sheet. The quickest way to get it into Procreate is probably to open the PDF on your iPad, take a screenshot of the page with the envelope on it, then copy it, delete the screenshot like you did before, and then go back into Procreate, swipe down with three fingers and paste it in. You can then resize it and use it to trace over. It only needs to be a rough guide, so don't worry if it gets pixelated when you enlarge it. If you want to draw your own envelope, you can do that as well. I'm going to do that now. Let's add a new layer and turn on our drawing guide. We can use the symmetry tool to draw this. [LAUGHTER] Then we only have to draw half an envelope. I'm just using the drawing brush from this set here. Let's start envelopes, go down here. Across the bottom, this is the sketch layer. Remember this isn't the one I'm going to use for my final illustration. Then they come up, they're curved. Then there's the flap there with a curve on it. Then take a slight flaps to go underneath. I think I can definitely make those a bit straighter. Let's try that again. There we go. Maybe not. You can either free hand your envelope or just import the one from the cheat sheet. For this illustration, I'm using the doodle brush and I'm going to also use the scrubby texture that come in this advert, is on my website. If you want to download those for free, you can do that, there is a link in the cheat sheet. If you want to use something slightly different, I would just suggest either using from the Procreate default sets, the marker brush, or the dry ink brush. Thinking about how I'm going to lay this out. Layouts which look good are things placed in odd numbers. Groups of three work well. Switching up sizes is another way to have a nicely balanced composition. Instead of having the same floral stamp three times at the same size, I'm going to try and change up the sizes. Let's start with the bell flower. I think I can even find them. It's got like three or four brush sets on the go here. There we go. [LAUGHTER] I think I'll start with a big one up here. I'm going to put this on a layer above the envelope so that I can move these around and transform them. Not on the same layer as the envelope at this stage. Let's see how big this is going to come out. Yeah, we could definitely go a bit bigger with that. It's an okay size. I think we'll stick with that, and we could transform it and make it a little bit bigger if we needed to anyway. I'm going to turn off snapping and magnetics so that we can free transform this. I'm going to move it up there, a little bit of an angle, which is placed that one in there. I'm going to have one coming here. I think I might have one over here and then one at the bottom. I'm going to duplicate this and transform it. This isn't the thing I would do on a final illustration layer, but because this is a sketch, it's okay to transform and we don't have to worry about things getting pixelated because we've transformed them too many times. Just duplicate this again, and we will flip this one, I think over to the other side, and bring this one over here, I think. Then I'm going to add another layer, and we'll grab the daisy brush this time. Let's see how big this guy is. Too small. Let's make it a bit bigger. We can resize it as we need anyway. I think I'm going to place one up here to a small one up here maybe. Varying this by putting the small daisy next to the biggest bell flower just to make the layout more interesting. Then I think we'll do another one here and one down over that side, just put that, coming to pin down over the envelope there. Then we're going to duplicate that. Let's have one over this side as well. We didn't want it to look too symmetrical with the other ones. Let's take this one down a bit lower. Here we go. Then we can pinch all of those to merge once we've got them all in the place we want. Then I'm going to add a layer underneath that to draw in the stems, and then I'll be able to erase any parts of the stems where they crossover easily. Just freehand these in. We join this one up and pretend it's part of the same plant. That's another thing with drawing stylized imaginary florals, is that it's fun to just imagine [LAUGHTER] different bits of plants stuck together. Plants in real life don't have two different types of flowers growing out of them. But if we want to imagine it this way, then we totally can. I think all that's missing from this envelope now is a few little sprigs of leaves. I've got a nice space here. I'm going to just draw some leaves coming out of there. I could do some on this plant and some down here to fill the gaps, and then maybe I have another sprig coming out of this gap as well. Imagine some of these overlapping and going behind the flowers too, and then maybe one there and one just drooping down here. I've got space for one more. Maybe put one in there. What I'm going to do now is use my eraser to rabbi where I know I'd want them to be tucking behind. Just say that the sketch doesn't get too busy. What else do we want to do? This one, we can erase the stem in the middle. I'll go around and try and erase all the stems now. If we wanted to make it less confusing then duplicate the envelope, hide one of them. You've got an intact envelope to go back to. Then on the envelope play you can also erase the parts. I've got Drawing Assist on. [LAUGHTER] Turn Drawing Assist off when you do this. Then you can go in and erase parts of the envelope that you won't actually be drawing as well. Then if we go to the layer with the stalks, we can erase those as well. I know sketch layers are meant to be messy, but sometimes it is nice to tidy up your sketch layer a little bit. I think that's probably all I need to erase. I keep seeing more bits even as I'm saying that, so I'll just take these off as well. Some down here on that petal. I keep spotting more and more. I think that's done this time. Once you have your sketch layer all figured out, you can merge all of those layers together into one single sketch layer. Now that we've got the bones of our sketch laid out, we're ready to start putting in some of these shapes and things when coloring in. But I want to show you how I intend on doing the coloring for this first. Let's just add a new layer in here. I'm going to change the background color first so you can see what I'm doing. Let's put a layer in here and I'm going to grab a white color for drawing this. What I'm going to do is I'm going to draw all the shapes in white as a flat white shape. Then I'm going to add a layer above that one, clip it to the layer below and use this scrubby texture with a color that I actually want to use. Then I'm going to draw over the top to get this nice textured effect over it. This is a much better way of creating texture using the clipping mask like this rather than doing something like, I just grabbed the right brush, drawing the shapes like this, filling them and then alpha locking the layer and then drawing over the top of that with your scrubby texture. The benefit of doing it this way is if you wanted to change the color of that, you can just alpha lock that clipping mask, grab another color, and then tap to fill that layer and your texture is kept intact. You still got that. But if you tap to fill the shape here, you're going to lose your texture because it's just going to flat fill that whole area. You'd have to use the hue and saturation to do that, which it takes a bit longer. The clipping mask is a much more flexible way of adding texture. Then you've got the option of recoloring much easier. Let's just get rid of those and show our sketch layer again. I like to have my sketch layer on the very top and then work underneath. I'm going to add a layer underneath here. I'm going to reduce the opacity on my sketch and I've got the blend mode set to multiply. You could leave it as normal, either is fine. I'm going to draw underneath this. But if you want to have your sketch on the bottom and draw on top, if that's how you do it, that's fine to do it that way. Use whichever you prefer working with. If you've never tried one or the other, then why not give something different a go. The benefit of having it on top is that you still get to see these line details over the top once you've drawn your shapes in and you don't have to keep moving things around to be able to see those. But then disadvantage is that you might find that it fills in the way. Choose whichever you like. Let's start by drawing the shapes for the envelope. These going to be in white with the doodle brush. I'm just going to trace over the base of the envelope to do this. My drawings are normally quite wobbly and not completely perfect because that's the style I use. So it doesn't matter that you've gone over the edges. If you wanted to draw straight lines, you could hold and snap and draw a nice straight lines like that. But I'm going for the wobbly look here because that's how I like it. The next part I'm going to do is to add the side flaps for the next layer. They'd be the next layer up. I'm going to add a layer above. I'm actually going to change to a different color, any other color is fine because if we draw with white on top of white, we're not going to be able to see what we're doing. I'm going to clip this to the layer below. Then starting off the edge here, I'm just going to trace over these side flaps around here and then connect it up with where we started. Then do the same on the other side. Could have used Drawing Assist here if we wanted it symmetrical, but we're going for wobbly non-uniformity so we'll leave that as it is. Then you can color drop to fill those. I'm actually going to turn the drawing guide off because we don't need that distracting us. Then I'm going to add a layer above and clip this one as well. The last thing to draw off the envelope is this bottom flap here. Just make sure you've joined that backup there and then you can color drop to fill that as well. Now I'm going to Alpha lock these two colored layers and fill them in with the white color. Now, we can add some shading on to the clipped color layers above these. I'm going to start with the bottom envelope layer, and I'm going to add a layer. Because we've already got these two layers clipped above it, this one is going to get clipped to it automatically. I'm going to choose this peachy color. I'm going to grab the scrubby texture brush from my flower Stylised Floral set. I'm going to scribble in. This brush has got a direction to the grain so if you twist it around as you go, you'll get nice changes in the direction of your grain coming through. Don't press too hard, otherwise you'll get really flat color. If you press too hard, you won't see the grain. Don't be afraid to leave some nice white patches showing through. That's the base layer done now. We're going to go to the side flaps, add a layer above, and that would also get automatically clipped. We can start to color those in. Don't worry about not being able to see the edges because we'd be adding shading in later and that will help with the shadow and highlights. That will show us where our edges are. Then we're going to add a layer above this triangle here. This one we will need to tap and clip this to the layer below. Then with this layer, because with these, what we're clipping everything to is this shape at the bottom. We're going to need to use a layer mask to make this work. If I hide this layer, you can see that the shading has spread out past that. To make sure they only covers this flap because although we've clipped it to this one, this one is in turn clipped to the whole shape here. We're going to tap this layer here and tap Select. Then on this layer here with the shading one, we're going to tap that one and tap Mask. That's going to stick to just covering that envelope flap layer. We can also do this with the side flaps. I just de-select and turn this one off and this shading on. You can see that's going out past the edges as well. If we tap the white layer underneath and tap Select. Then on this layer, if we tap and tap Mask, that's going to just mask off the areas that we don't want to see. Now we can show all of those layers again. If we just turn our sketch off, you'll see that it's now showing the individual layers much better. Once we've got all our motifs in place, we'll also come back and add some shading to this as well. 12. Project 2: Floral Envelope Pt.2: I'm just going to put my sketch back in. I'm going to start by drawing the stalks, I think. I think when I'm drawing these flowers, to start off with, I'm not going to worry about getting them in between the right layers of the envelope at the moment, we'll do that part of the end. I'm just going to add a layer above here and we'll just draw the stalks on top. Remember, we want to be drawing in white while we're doing this, so I'm going to draw the flower stems in first, I think. Just make sure I've got the right brush. Then we can just draw all of these flower stems coming down into the middle like that. Don't forget to extend them down past the envelope flap so that they can be tucked under that. I think that's all of our stalks. None of them crossover, so those can all be on the same layer. Now we can add a layer above this one. Let's name this one underneath, stalks, and clip this one to that layer. Let's use our green color and the scrubby brush and just add some shading over the top there. You can be nice and messy with this, it doesn't have to be perfect. Just hiding that, I can see I've missed a little bit of green there, but that's going to be underneath the flower parts, so that's okay. I think the next thing I'm going to do is let's put the leaves on next, so let's add a layer above this one and go back to white, grab our doodle brush and I'm going to draw all these leaves in there. Then once you've got all those drawn in, you can use the color drop to fill them all in as well. Same as before, we're going to add a layer above, clip it to the layer below, choose our green color and the scrubby texture. I think I might go for a little bit of a lighter color for the leaves than the stalk actually. Let's give that a try. Then just draw and scribble and move the canvas around as you go. There we go. That's our leaves done. The next thing I'm going to do is to work on these bell flowers. For these, I'm going to use the dark pink color here for the first layer. Starting off on the bottom layer, which is these shadowy bits here, I'm going to draw these in. I need to remember I need to draw these in white so yeah. Draw these in white and not the dark pink color and then just finished those bits off on the other flowers as well. That's what we need to do on that layer. You can then continue to fill those in, then add a layer above them, clip it to the layer below, and now we can grab our pink color and add a scrubby texture brush and add the shading to that bottom layer. Now, the next layer to do would be the stamens because they should be popping up on top of these but underneath the main top flower. Let's add a layer in here, and then with our doodle brush and using the correct white color this time, we can then add those stamens in on the layer above. Then you're getting the hang of this now. Add a layer above, clip it to the layer below, grab our shading color and our scrubby brush, and we can fill in those stamens with that nice yellow color. This has got the sketch layer blended down on top of it because I'm working above, so they look a bit dirty while we're working, but they are that nice, bright yellow color underneath. You can always hide and show the sketch layer just every now and then just to check your colors are all working out. Then last of all, we've just added a layer to draw these bell flower shapes in. Then we're going to use color drop to fill them, and then we go back to our layers, and we're going to add a layer above, clip it to them, and we're going to grab a lighter pink this time to do the shading with the scrubby brush over there. I just give that a nice scribbly texture, moving it around and varying up the pressure. The last thing to do is put these little bits of line work in. I'm going to show you a little trick here. If you use a pure gray color, so anywhere, right on this left edge here, as far as you can go off on this left side, any mid-gray color will do/ on a layer above your shading, we're going to clip this one down as well and I'm going to use the doodle brush again. We're going to use this gray color to draw all of these lines in. It does look a bit weird at the moment but just stick with me because I have a trick to make this look better. I'm just going to undo that because I think I want to have this line a bit more wavy. It's looking too straight. Keep bearing with me because I know that this looks weird at the moment. Now, you know me, I always like to think about having maximum editing ability for colors. With these ones here, so the shading that we've clipped, if we want to change this, all we have to do is, I'll lock the layer, and then we can drop a new color in. If we choose a darker pink for this color, we're then going to have to change the colors on this one every time we change the colors underneath, but if we use this gray color and set the blend mode to color burn, we might want to reduce the opacity a bit as well. You can see if I hide this sketch layer, we just get a lovely, nice darker pink color, and we still get to see all that texture showing through. What it also means is if we Alpha lock this layer and if we want to choose a peach color for these bell flowers, we can then tap to fill that layer and that linework over the top would also blend perfectly with our new color. That's a quick little tip for adding linework details to flowers, is to try the gray color and use color burn to blend it down and then you won't always have to keep changing both of the colors as you change the color of your base layer. This top one is going to change automatically. I just need to fix this bit of yellow here that I missed and then that is all the bell flowers done 13. Project 2: Floral Envelope Pt.3: Next, we can start work on the daisies. Before I do that, I'm going to group all of these pink flowers together. I'm just swiping to the right on each layer and then we can tap group, rename this group pink flowers, and then I should probably go through and rename all of these ones that I forgot to do as we're going along as well. Then we should group all of these green ones together and label those up, and then we can add a layer above here and start on our daisies. I'm going to start by adding this like the bud or receptacle, whatever it was called. We're going to draw those in white. I'm going to give myself five points for remembering to choose white and not green. We're going to draw these in air and then we can use color drop to fill them in. Just draw over that, there have been a miss there. Then we can add a layer above that, clip it to the layer below, and we can use our green color with our scrubby brush to add the texture in. Let's name as we go this time, call this one buds, and then we want to be working underneath these layers now. We'll go underneath and add a layer, and we're going to add the petals in white. So that we can use color drop in a second, I'm just going to hide this layer, and then underneath on my petals layer, I'm going to close off the shape so that we can use color drop later. Now we can add a layer above these and I can re-show the buds now. See, I'm pausing here because I was planning on doing these petals in a peachy color, or actually I might use this lilac one. But now I've seen them like this, I actually quite like them in just the white color, I think that looks nice. I'm reconsidering whether to color these in or not. But the great thing is because we are using clipping masks, I can go ahead, add the shading, and then decide at the end if I want to keep it or not. Actually, maybe if I do like that quite lightly, it's just going to look like a little bit of daisy shadow. Let's have a look, gone too dark there, I think. Let's try that again. No. [LAUGHTER] Yeah, lighter definitely. I think I might just leave it like that. Let's have a quick look. Show and hide, maybe, we'll see. Anyway, the next thing to do is to add the darker petals underneath. We'll draw those in white and then we'll have a final compare at the end. I'm just going to start down here under the leaf drawing a shape underneath as well so that I can join it up and have one single shape to be able to color-fill with later. Just close this one up underneath as well, and then let's pick one last of all. I hope that's joined up somewhere underneath, we'll find that when we feel. That's fine. Just fill those in, and then we'll add a layer above this, clip it to the one underneath, and we'll use this lilac color to do some shading on the petals below just a little bit with the right brush, of course. Now we can add a layer above this and we can put the stamens in, which needs to be in white. I'll get it right in the end. Then we can clip our shading layer to this one and at the yellow in there. Then at this point, we can hide our sketch layer and have a look at the comparison and make a decision on these flowers on the color. I think I am going to keep these mostly white and use that shading, but what I will need to do is to make the envelope darker underneath, so there's a bit more contrast down here. We can work on that when we do the shading. The first job that we need to do is to take these envelope layers and move them up above the stems. I'm going to unclip this one here, and we can use the same mask technique as we used earlier. You want to tap on this layer, like your base envelope layer, tap select, and then invert your selection. You'll see it will switch so that you can now draw on the outside of this now. Then on this layer mask here for the flap, make sure you're on this layer mask, not the shading underneath. You want it to be on the layer mask up there like that. Then with a pure black brush, you can then draw onto that mask and then mask off that extra area too. Now we're done with that selection, and we can grab this layer; the layer mask, the shading, and also the envelope flap 2. You should have four layers selected there. Your white envelope flap, the mask on it, and then the shading, and then the mask. Then we can drag these up above the green stuff, and then it's going to mask it off. I'm going to move it down. Let's put it in between these and then we'll still have that little leaf peeping over the top there. You can see where I've put that in and it's got a clipping mask below it. It's clipped itself to that, so just tap on that, tap clipping mask, and now we've got that all masked off nicely. The next job is to add some shading to the envelope to help these layers stand out a bit, to help the daisies and also the layers on the envelope. On our layer here, we're going to add some shading along this part. Let's grab this peach color and pull it down and grab a slightly darker version. Let's find our texture brush, and we'll just add some shading behind that flap there. That's looking much better already. The next place that we want to put some extra shading is down on these layers to show that they go underneath this front flap here. Let's select those layers. Again, make sure you're drawing on the shading, not on the layer mask, and you can just darken it up there behind that front envelope flap. This way we also get to add some contrast between the envelope and our daisies as well. That's popping a lot more now. Last of all, I think we should add some shading down to the base of this envelope just to grind it a bit, I think it would help. Then again, make sure you're on the shading, not the layer mask layer, and then you can just darken that up a little bit at the bottom there. I think that's working a bit better now with that extra shading in there. One last thing that I wanted to do is just add a bit of texture and definition and movement to the background rather than this flat color. Anywhere down here at the bottom, I'm going to add a layer just underneath the envelope, and then I'm going to grab my color that I use for the background and just pull down and get a slightly darker version of that. Then I'm going to use this scrubby texture brush and just add some shading coming out from behind the envelope and maybe a bit around the edges as well. Then I'm going to go back into the colors, select this one again and grab a slightly lighter version and mix that one in with it too. Then come back to the dark one, go a bit darker, and then just go around the edges to give it that classic vignette look. Then I'm going to grab a smaller brush and just add a little bit extra around the edges of the envelope just to help that pop and stand out as well. There we go. That's project Number 2 done using our side-view floral stamps. Again, if you want to upload this to the project gallery and you want to do the low-res version, what I would do is to go out to the gallery, duplicate that, and then save out the low-resolution version, following the steps that we used in a previous lesson for saving a smaller version of this one. Then in the next lesson, we'll look at creating an overlapping flower pattern like this one. 14. Overlapping Floral Shapes: For this last type of stylized motif, we're going to combine the front end view of a flower with some layers so that you can have continually overlapping petals. Let's pull up our guidelines and we're going to use the nine lines, one for this flower. With these types of flowers, we want these ones to overlap. These midpoints are still going to be useful here. We need to know where they are so that we can make sure that we're drawing pass that line this time. You'll get a different look depending on how far past you go. With this one here. Let me just hide these lines. With this one, I went just past the central guideline so you get a slight overlap. Then with this one here, you can see I took it all the way out to the beginning of where the next marker would be and we've got a much bigger overlap here. Let's put these guides back in nice so we can use them. To start off, this is the same as before. We're going to draw a middle petal, sorry a middle circle in the middle like that. Then we can center this one. Make sure you've got snapping and magnetics turned on there. Then we can turn drawing assist on for this layer now. We're using vertical symmetry on this layer like we were before with the other flowers. I'm going to draw a petal same as before and I'm going to go just a little way past this halfway marker with this one. Maybe go a little bit more pointy bit further with this one. I have another go try and make it a bit further and a bit more pointy. There we go. Then as before, we're going to duplicate and transform this around the canvas. Let's rub at that part in the middle there that we don't need. Then with a pen, we're going to add a corner guideline with our pen not the eraser. Then we can transform it around the middle. This one is a nine petal flower, so 360/9 is 40. Then we duplicate this bottom one again. Tap to transform 40 plus another 40 is 80 and then we can duplicate this bottom one again, 80+40 is 120. Don't forget all the math for this is in the cheat sheet and then we do this one more time. Duplicate the bottom one and 120 plus another 40 is 160. We're now at the point where we can flip this over horizontally. We merge these together and then swipe to duplicate, tap to transform and flip horizontally and then we can merge those last two together. Then you can see we've got these going all the way round with these little overlaps. Now you can either have these all overlapping perfectly like in a spiral like this one, one on top of the other, perfectly all the way round. Or if you wanted to, you could erase just some of the middle parts so that you have for example on this one, you could have this one on top, this next one underneath if we erase this bit, and then this one we could have on top and then this next one underneath. Then when you get to the bottom, you'll need to turn drawing, assist off and choose which of these you want to have on top. You could randomize these up. You could have a few on different levels or layers. But for the one that I'm going to do here, I'm going to work all the way round in the spiral. But that other way is an option if you wanted to take this, develop it further, and add a bit more randomness to your designs. But I'm just going to go and undo those steps now. Tapping with two fingers. We're going to work on having a spiral like this one. Let's put our original flower back in and we can hide these markers next, we're done with those. When it comes to erasing these, it's going to be easier for you to decide which side you're going to erase and then work your way around in a spiral from there. I'm going to work on the left-hand side and erase what's inside. I have drawing assist on still. You need to turn that off for this part. I'm just going to make my eraser or a bit smaller. Left-hand side of the petal and I'm going to erase what's inside. Then we can spin this around left-hand side and erase what's inside. Left-hand side, erased the inside. Then you can just keep working your way around like this. Where I've got little bits like this and it's a bit jaggedy and messed up is okay because it's not meant to be perfect and don't forget, this is just for sketch layers. It's nice to work without the pressure of having to have perfect lines sometimes. I think we were this way up, top petal was pointing upwards. That's how it should look once you've erased all the inside lines on those. What we need to do now is copy what's on this layer. Let's erase our corner markers first. Let's tap to copy this layer. Don't forget when you're doing this. If you wanted, you could add for example lines on these layers if you wanted or you could do little lines and dots, all things like that. You don't have to stick with just the plain flower outline if you don't want to, if you feel like stylizing it in your own way, then definitely go for that. We're going to just tap to copy and then we'll go to our brushes, try and find what we were just using. I've got three sets on the go here, but this one here will do. We're going to swipe to duplicate, tap to edit and then we go to Shape, Edit, Import, paste and we are done. Can obviously adjust the scatter if you wanted to. I'm going to turn this scatter off for this one. Then in the next lesson, I'm going to show you how to use layer masks and shading to get this continually overlapping effect 15. Overlapping Petals with Layer Masks: I'm in another A4 document here again, which is similar to US letter size. Let's grab our brush with the flower we just made. Let's stamp a nice big one in the middle here. Maybe that's too big, actually, no, that's probably okay that size, and let's center this on the document. I've got snapping turned on and all the way up. I can see here in the binding box where it's going past the edges of the flower. So I must have had some small bits of corner markers left on that I didn't erase properly when I copied that. I could leave it as is, but because I do want this properly centered on the document, I'm going to go back into the other brush Canvas, and I'm going to change that one. Let's go back in here, go into our layers, make sure we're on the right one, and then I'm going to grab my eraser and see if we can do a better job of erasing the corners on this one. Then, if we tap to transform, you can see that that binding box is around the flower now. We can copy, go back into our brush, tap to "Edit", and paste that new one in there. Then now we can go back into our A4 document. If we add another layer up here and go to grab this one now, you can see that it's just grabbing the flower, not any space around it. Let's center this one. It's going to be easier if we delete that layer underneath, or it's going to try and center around that one as well. There we go. Now that's centered properly in the middle of the document. I'm going to reduce the opacity down to this one, and I'm going to add a layer underneath, and I'm going to set this one on top to multiply. And then on this layer underneath, I'm going to start by drawing the center middle circle for the flower. Let's just see what brush I have. Let's use the doodle brush from my brush set here. It might be a little bit too big. We're just going to draw, tap, and snap, and then we can color drop fill this one. Then because we're going to have nine petals here, it's going to be quite a few layers, so we need to be careful to keep track of what's what. I'm going to name this layer center and then drag and layer underneath. I'm going to add another one on top because I don't want to have to keep adding layers above and then dragging them back down underneath. So let's change the background color as well so we can see the white petals. I'm going to change my color to white for these petals. Let's draw in our first petal, and what you want to do is extend it past this line here where it gets cut off. I'm going to start anywhere on this petal, follow the line around, and then draw it, so it's going past into the next petal, and then we can color fill. Then I'm going to add a layer on top of this one. To keep track of where I'm going, I'm going to use a different color for each petal from this point. So I'm going to do this one over the top, pass into the next petal and join it up. If I was doing this all in white, it would be really hard to see. If I just change this one to white, you can see it would be really hard to keep track of what's what, so we just pick a different color for each petal as we go around. Add a new layer, grab a different color. On this one I did not add a new layer, so let's add a new layer above that and then draw it on so that everything is all on separate layers. There we go. It's quite relaxing tracing over these. As I said before, I always love a bit of tracing work. It's quite slow and meditative. This brush that I have has a multiplied effect on it, so if you draw and then draw over the top, you get that double layer. If you want to get rid of that, like up here where I just added this bit to take it further past. If you Alpha lock the layer and then tap on "Fill Layer" it will just flatten everything out in there. That's a way to get around that if you just want flat shapes. Then I'm going to use the shortcut of long-pressing the color to go back to the last one that we used. You can just keep adding layers, long press to go back to the color that you used. That's our last petal in there. Obviously, we're working on layers and this one is the last one we've drawn, it's on the top, but it's now above this one. The trick is getting this last one here to tuck underneath this one, even though it's on the top layer. What you need to do is go down to your bottom petal layer here. Tap on it, tap "Select" and we want to have the selection inverted. Down here, tap "Invert" and then you can come up to your top petal layer. I'm going to tap it, and then over here we're going to tap on "Mask". Then that's going to mask off the area that was covering that bottom petal there. What we can do now is to go through and Alpha lock all of these petals on these layers, and we can fill them with whatever color you actually wanted them to be. I'm going to go and fill mine with white. I'm sure I had white selected just a second ago. That was weird. I think it was because I was on the layer mask. Anyway, just fill all these in. And then when you get to this top one here, make sure that you're filling the layer with the petal on it, like this, rather than being on the layer mask and filling that layer because that's going to undo the work we did putting the layer mask in. Let's just undo that and make sure this bottom one, thus this should be the dark blue one. That's the one you want to fill. At this point, we can now hide our guidelines because we're done with those for the moment. You can see now that we've taken those off, we can't really see the outlines of where the petals are overlapping at all. So what we're going to do is to add some shading now to show the overlaps on those. You can see why it was easier to draw with them in different colors rather than white. It's going to get even trickier in a second when we try and figure out what's where and where to put the shading. Before we move on to that, though, I just want to draw your attention to something that happens when you use layer masks in Procreate. If we zoom right in here, and I'm going to make the background a different color. You may already be able to see it. If I make it this darker color, you can see around the edges of the layer mask here that you're going to get this hairline gap creeping in around it. What we can do to knock that out is right on the bottom, underneath the very bottom petal there, if we add a layer here, grab the same color as you've used for your petals and then just using any old brush, just trace and make a filler to go underneath and fill that gap in. We've got that little small line under there now, and I can go back and change my background color to this nice pink color again. Overall these petals, we could shade directly onto these by Alpha locking, but as you know, I prefer to have the colors editable. We're going to add a clipping mask over the top of these rather than drawing on that bottom layer. I've added a layer here, and I clip it to the layer below, and then I'm going to grab a slightly darker color, I'm going to use this nice lilac color. With a shading brush, so I've got medium nozzle airbrush here. I've got mine set to 37% for the size and my opacity is 53%. This is a really big brush, so what I'm going to do is try and start drawing from somewhere down here so that we just get the very edges of this spray showing up here on this petal. Let's just put this to test. But if I zoom in a bit, you can see that that's just starting to creep in there nicely through the edge, and what I want is a nice subtle effect like this. That's the shading on the first petal done. Now we can work on this one. Let's turn our guide on, so we can keep track of where the edges of these things are. On this petal, this one here, next one up, I'm going to start somewhere down here and do that shading. This, again, is on the layer above clipped down to the layer below. Then if we hide this again, you can see we've got that nice shading effect there, where this one is darker because it's underneath. Let's put our guide back in now. Got to this next layer, add a layer, clip it down to the layer below, and carry on putting the shading in. Then you can just repeat this, working your way around doing the shading on all those layers. Then, when you get to this last layer, the one with the layer mask is, you just add a layer above the layer mask and clip that down in the same way, and repeat just as we did for the other petals. Exactly the same. Then if we turn this the right way up and hide the guidelines, and now you can see we've got this lovely overlapping spiral petal effect going on. All that's left to do now is add a layer above the center. Clip that one down as well, and let's choose something a little darker than this yellow to shade the bottom corner of that. Going to use the nozzle spray brush again. Maybe something a bit darker. Actually, maybe we could even take a little bit more orange. Let's try that. There we go. Then let's go and find a nice, lighter shade coming in just touching the top there. We could probably go a lot lighter with that. Maybe a bit lighter again, I think. There we go. That's looking nice. I think we could probably go a bit darker down on the bottom corner there. Lovely. Then what you would do is now you can delete the sketch layer because we don't need that. You would probably want to group all of these. Just swipe to the right on each layer to select them, not forgetting that last little layer underneath. That little extra bit. There we go. Then at the top, you can tap "Group". Because there are so many layers there, it's a good idea to group them to keep them tidy like this. What you would probably want to do is have each of those flowers in a separate group if we were using more than one of these. That's how I get my continually overlapping effect using shading and layer masks. In the next lesson, we will make a floral pattern with these. 16. Project 3: Floral Pattern: So I use these overlapping styles like this quite a lot in my patterns. I would normally have the brush set to rotate a little on these so I would probably have it about 20%, like I showed you for the others. So they're all a little different, dotted around the canvas. But patterns are a whole other class though. If you want to learn how to use flour stamp brushes like this in a pattern, just like this one that I'm doing here, then I quite literally have a whole other class on that. So that would be a great follow on class to take after this one if you want to dive into that now that you know how to make your floral stamp brushes, and I will link to that one in the cheat sheet. But I love patterns so much, I've come up with a super quick and easy pattern that we can still tackle here today for this last class project. I'm not suggesting this as a method for making patterns for something super important, but it's perfect for something fun, like a phone wallpaper or an Instagram post. Pattern work doesn't always have to be serious and sometimes it's fun just to do something because it's fun. So hold tight because this might blow your mind. So what we're going to do, I want to keep these layers intact. So I'm going to duplicate this group and then we can hide this bottom layer. If you're short on layers on your iPad, then I would come out into the gallery, duplicate this whole project, and then you could start a new one and instead of duplicating, you can just go ahead and flatten this group, you can also get rid of this one now. So I'm going to make sure that this flower is still centered on the Canvas. Good, it's still centered. So now we're going to add some marks to the corner now, like we did when we were making our brush, I'm going to put these in black so that we can see them nice and easy. Put some marks in the corner just there. So we're not going to duplicate this layer and with snapping turned on, snapping and magnetics, and then everything turned all the way up to the top there. Drag this layer halfway over to the left and you'll see it snap into place there with the orange lines. Duplicate this bottom layer again, and drag this one halfway over to the right until it snaps into place as well. Now, we can merge these three layers together. Then we can duplicate these merge layers and we're going to drag this one halfway down until it snaps into place there with those orange lines. That means it's moved exactly halfway and then we're going to duplicate this bottom layer again and drag it up halfway. Now what we want to do is erase those black marks that we put in. The easiest way to do that is hide all of these layers and then just have one showing at a time and then you can know which ones are showing and know which ones you are meant to be erasing. Oh, and you'll still get the wrong ones even if you do it that way apparently. On this one, although the lines are showing they are hidden behind the flowers, we'll erase those anyway. That's all of those one's done. Now, you can merge all three of those layers into one. So now comes the magic part, which I came up with so that we could get a bit of half-drop going on in here. So rather than just having these in a straight line grid, a half-drop is where we would have this one repeated down here in the middle. So we're going to add a layer underneath our daisy, and we're going to fill it with a color, it doesn't matter. Any color will do because it's not going to be part of the final pattern. Then we're going to select this layer, this one here, and move that halfway across until that snaps into place. So now we've got a rectangle that is exactly half the width of the canvas. So if we center this, we've now got a marker a quarter of the way of the canvas marked out so we can now snap to this line. So now we need to do the same vertically. Add a layer, we should use a different color for this one so we can keep track of them, and just color fill the whole layer. Then we're going to select it and we're going to track this one halfway down until that snaps into place, always looking out for those lines crossing over there. So now we can drag it back up and center it in the middle of the canvas and we have those lines crossing over there. So now we've got these points here that we can center our flowers on. Get ready. You can now duplicate these daisies, and on this layer that we've duplicated, we're going to drag it and snap it to where those two markers their cross, and that will now snap to that quarter of the way point where; how cool is that? Then you can see we've got these nicely marked out. If we duplicate this bottom one again, because we need to put the other half of these daisies in, and then we can drag this one up and across and that's going to snap nicely into place there as well. We can zoom in and just check and you can see there's no gaps there. Even though these are on different layers, this is perfectly seamless. As you go in, it's a good idea to zoom in and check this. So we can duplicate this bottom layer again. We just need to fill in these other parts of the daisies so we can snap these ones up here. Maybe move that just that one at the top there and duplicate that bottom layer again, just to put that bottom left corner of that daisy down there. Again, zoom in and just check that everything's nice and seamless. If you do find that you've got things misaligned, go back to this layer again and just try again with lining it up. If you find that it's still misaligned, then it's probably because you didn't have either of these two layers aligned perfectly when you moved them halfway. So if you find that you're still stuck, go back to here and then redo your layer filling and moving along, just get rid of that second, making sure that you've always got snapping turned on and magnetic both all the way up to the top and you should eventually get there. So now we can merge all, not with them hidden because that will just delete them. Now we can merge all of these layers together and we can put this all into one layer. This is actually now a seamless pattern tile. You could save this out and upload it to somewhere and it would repeat as many times as you need it to. I don't necessarily recommend this for important pattern designs, but it's absolutely perfect for doing something like a fun Instagram post or some wallpaper. I think I'm going to use this as a phone wallpaper. So I think we could probably do with a few more repeats in here because I want more of these daisies repeated across my phone. So let's duplicate this layer and let's hide this one underneath so we have something to go back to. On the top one we're going to transform it and then grab this blue node here and we're going to drag this and snap it. Make sure we have a uniform on and we're going to snap it to a quarter of the document. So you can see those orange lines there. Then you can duplicate that layer again and drag it over until they snap into place, and then zoom in and check that that's still looking good there where they're joined and that's okay. We've got no misalignment. So we can merge those two layers together now, duplicate them, and then drag them down to the bottom. My dog is currently snoring under my desk, so I do apologize if that's picking up on the mic. He's now giving me the side eye because I had the cheek to wake him up to film him. Anyway, that would make a great iPad or iPhone wallpaper. If you want to do that, you can save the image to your camera roll and then choose to set it as a wallpaper. As I said, the beauty of tracing these flowers is that you can have each one slightly different and I know we haven't got that going on here because we just made it from one flower. But as I said, I do have another class by using these type of floral stamps to make a more complicated pattern. So that you can definitely take what you've learned here and combine it with that class to make some lovely patterns like these, which I make in Procreate with my floral stamp brushes. So you can save this as a JPEG and then use it as an iPad wallpaper as it is, or you could make a tall vertical wallpaper that you could use on your Instagram stories and give away as a free wallpaper. If you do share on Instagram, please tag me so I can see it and here's what you need to do. If you want to turn it into a tall narrow wallpaper, swipe down with three fingers to copy all. Then go out into your gallery and create a new canvas, which is 1080 pixels by 1920. For the DPI, 144 that should be enough. I know phones are really high res these days, but you still don't want to be putting 300 pixels out there. 144 is perfect for wallpaper. Then you can tap Create and that is now the correct resolution and ratio for Instagram stories. So once we're in this document, we can then swipe down with three fingers and paste our wallpaper in. You can either just keep it at this scale as it is if you wanted to, you can tap Fit to Canvas and that's going to expand it to fit in there. Remember, this is just a phone wallpaper, so we don't need to worry about a tiny bit of pixelation. It's not going to be a huge deal. We're not going to zoom in that big on one of our phone screens. It's only going to be this size in real life. There we go. How fun was that? I've never actually made a pattern like this using the centered half of the canvas with those before. I was determined to get a pattern into this class somewhere that was going to be easy enough to follow, even if you've never made a pattern before. So we are nearly done and in the next video, we'll wrap things up and I'll go over some more ways that you could use this skill for making stamp brushes in Procreate. 17. Next Steps: Thank you for taking this class with me. I hope you've enjoyed it. I wanted to make something a bit more focused on fun projects than my previous workflow based classes. Productivity I'm thinking about ways to make something that will make us money all great. But I wanted to make a class to remind myself as much as you that making some fun, pretty art things just for the sake of it, is a perfectly acceptable way to spend your time. Don't get me wrong now, I totally use all these floors stamp brushes in my studio every single day. What you've learned is definitely a win on both counts. Here are a few more examples of artworks I've made using the stamp brushes as the starting point. The possibilities are endless and you don't have to limit yourself to flowers either. I hope you especially find the tips on drawing stylized flowers in your own way useful. Last year I co-hosted a signature style challenge over on Instagram, and although I thought I knew pretty well what my signature style was, it was the active continually drawing stylized flowers each month from photographs, which helped me to distill it down even further. It really is a worthwhile exercise to spend some time on. Don't forget to upload your beautiful works of art to the project gallery. Stopping by to look at them is always a welcome distraction during my working day. Don't forget you can earn certificates for posting class projects now too. If you want any feedback, help, or advice, you can always reach me through the discussions tab. We try to look in once a week and I will always get back to you if you need an answer. If you want to see more for me, I have a YouTube channel where I post weekly time lapses, tips, and tutorials for illustration, surface pattern and design in Procreate. If join challenges and community are your thing, then you can keep up with those via my monthly newsletter or over on Instagram. When you sign up for my newsletter, you'll also get access to my freebie library which has things like Procreate palettes, mockups, and other templates in there. As a thank you for taking this class, I'm going to add some of my Procreate floor stamp brushes in there for you too. You can find the links for all those things either in the class cheat sheet or by going to my Instagram @bekkiflaherty and following the links in my bio there. Most importantly though, don't forget to follow me here on Skillshare. Thank you if you already are, because then you'll be the first to know whenever I publish a new class or if I have exciting news like Skillshare membership giveaway to share with you. If you've enjoyed taking this class, then please leave me a quick review, they help other students to know which classes are the good ones, and they're always nice first teachers to read to. Thank you again, stay creative and I will see you next time. 18. Bloopers: I guess I'm doing a bloopers reel for this class. Aesthetically pleasing form. Stop trying to be funny. We'll create is a floral art. At least we got these designs. Designs for the blooper reel? Simple floral. That sounded weird. We'll create a flower. Perfectly shaped. We're going to create, but remember, you can't use anybody's copied design, commercially. Great design commercially. Commershnary is not even a word. Don't use anybody's copied design commercially. Maybe we can add it to the dictionary. Commercially. Going to do it this time. Commercially. Can't use the copied design commercially. Cool. Let's put it another way, you wouldn't be able to sell that design. Let's try that. Always fun getting naked also when you're on your own. Should get uptight. I hope you've enjoyed it. Helps it when I press play on my teleprompter. What is that noise? Fun. Always nice when the machinery there. They're using it. Watson thinks base class. That's in my previous work. Work for your money. Last year I got to host a signature-style project gallery. I feel I was looking all over the place. Most importantly though, don't forget to follow me. Why is this not scrolling? Because then you'll be the first to know. That was really cheesy. Being Cheesy is good. If you've enjoyed this, that was a bit loud. The video is Pasha, at least we got some stuff. Lovely. it was real, hey, that's good.