Texture Magic: Creating a Cute Scottish Landscape

1. Class Overview and Project: Oh. Hello, and welcome to my brand new skill share class texture magic and Procreate the landscape. My name is Rina, and I'm an illustrator from the UK and the artist behind the brand of Busy M Studio. Today, I'm going to show you how I use texture brushes and procreate, and hopefully we will inspire you to create your own lovely artworks. This class will go through the process of filling the shapes in color and arranging them on the layer stack. How to apply texture to our objects using procreate texture brushes. We'll explore different blending modes, and I'll share with you my tips and tricks how to bring your illustration to the finished professional level. Your class project will be creating this beautiful Scottish Highlands landscape, and hopefully, having mastered the texture technique, you'll be inspired to create a landscape of your own. So go ahead and grab your right pad and I'll see you in class. 2. Inspirations: So, so I decided I'm going to tell you guys what inspired me as an illustrator to use the techniques of this clash type layered with texture and color enhancements. So I'm just going to show you a few books there. In fact, there are much more of them. But I'll show you the most probably the main ones that I got influenced by. So first of all, it's nature Origami and pretty much any book. With illustrations of a lovely UK Illustrator, Clover Robin. I absolutely adore her style. Her artworks, have a look, this, like, clash type of constructions, she creates layered with different types of textures. This book talks about Origami, which, by the way, I tried and created all every single one of them. But for this particular class, I just wanted to pay your attention how lovely Lly and cleverly Clover creates this shapes, layered like paper, and the texture you see like fish. Look at this amazing fk. Something that you cut out of paper and just combine together creating a nice composition on the Canvas. So by all means, guys, check Clover, Robins, books, designs, and just sign up to her Instagram. It's amazing. Another beautiful book. These are my children's books. Actually, I used to read them when my girls were little. Is these books by Julia Donaldson and Lydia Monks. This one is the singing mermaid. And here, it's exactly like, similar concept. They're like, shapes, cut out shapes layered with textures. Look at this beautiful English sea sea scapes, landscapes and see the rocks are layered with rock texture. So yeah, I'm sure if you're from the UK, and if you have children, you know this beautiful, wonderful writer Julia Donaldson and the amazing illustrator Lydia Monks and their books made together. And another one of this wonderful creators as the Princess and the Wizard, here exactly the same concept. And Lok I wanted to show you I love this. You see, like yellow socks that the princess was supposed to separate in pairs. And you can see, like, some socks are layered with this, like, real knitted texture. Some are layered with the textures made out of, like, some sort of oil or acrylic bca dots. Some of them are quite, like, shiny, glittery, some amazing. You see, I just takes my breath away even talking about it. It is like little the trees the trees leaves are layered with the texture of real trees. So guys, just amazing. And another absolutely beautiful edition I wanted to show you is this big massive book of poems about animals for every day of the year, which I still read to my children. It's selected the poems I selected by Fiona Waters, and the illustrator is Brita Tektro another amazing illustrator, which go and check out an Instagram and Hubert For. Everything is just amazing by her. And you can see, from the first page, all the textures. Tiger tiger burning bright. It's called. So whereever you open it. I just I find it so hard not to dwell on every single page, but just look at this wonderful layer texture. There again, this like cut out cut out effect. Like it's a paper collage. Look at that. And like an animal fur and the leaves got this wonderful texture, the color enhancement of this pigeon, see, like the snow, I just beautiful. These books inspire me so much. And today's class, hopefully you will see that is heavily inspired by all these wonderful illustrators and artists. So yeah. Let's begin. 3. Tools and Materials: You. For this class, I'll be using an iPad. You will need an iPad or an iPad Pro. I'm using 12.9 " iPad Pro. You will need an Apple pencil. I'm using P pencil second generation compatible with my iPad, and you will need procreate installed on your iPad. And this class is recommended for beginners. Absolutely nothing difficult in it. So that's basically the basics. And the soft materials we're going to be using. In terms of the Canvas. We won't be using any particular texture. Paper canvas will be using default canvas size from procreate. It's going to be screen size. O sketch. We'll be using the coloring page, provided in the resource section of this class like everything else for this class, all the soft tools I'll be using. They are provided in the resource section. So depending where you saved your coloring page, I've saved mine in the photos of this iPad, so I'm going to do in sort of photo and choose the coloring page, and it's called texture landscape. And that's it, that's your sketch. In terms of the brushes. In this class, I'll be using the following brushes for procreate. First of all, I'll be using landscape texture textures. It's the brushes I've created specifically for this class. You'll find them in the resource section for this class. But as always, I encourage you to try your own if you want. Perhaps you've purchased something before or you've even maybe created some yourself, so go ahead and try them. But as always, you can just follow me step by step using my own brushes. Well, also is important guys. If you don't want for whatever reason, if you don't want to download and install the brushes, I provide you can resort to the brushes provided in procreate by default, and I would like to direct your attention particularly to the organic brushes which you can see in your default procreate. Industrial. See, like different industrial textures provided here. Vintage. There are some quite nice there are some quite nice brushes there, like Myrtle, for example, and materials. See, like there is leather, noise brush, Blackwood, and other things. They work great as well and that kind of art I'm going to show you today. Other brush I'm going to be using. It's a default procreate brush in the calligraphy group, and it's a monoline brush. I will be using it for filling the colors and shapes in my canvas. And another brushes I'll be using is charcoals. They also come default and procreate. I'll be using one of these brushes for erasing sharp edges in my piece. You can literally use any of these, but in this class, I'll be using to be compressed. And as for the colors, I'll be using the color palette that you can find in the resources section of this class is called landscape or create your own palette or use one of the default palettes and procreate. Its the artist. It's your choice, what tools and materials you would like to use. So, that's basically it. 4. Preparing the Canvas: So let's begin creating our beautiful landscape. So what we need for this lesson. For this lesson, we will need the Canvas of the screen size, landscape orientation. We will need the coloring page, the prepared sketch. It depends on where you saved it. I saved mine in the photos. What I'm going to do. I'm going to click that range icon. I'm going to click Add, and I'm going to insert a photo. If you saved your coloring page on your Cloud Drive, for example, you will need to insert a file and import the file from the location you saved it. So I'm going to insert a photo, and I'm going to choose the sketch. This is like your coloring page. I'm just going to fill this piece. That's okay. Here is the sketch of our landscape. I'll be using my own color palette that I created especially for this class. But again, feel free to use your own. There is no right and wrong here, and maybe you prefer some brighter colors, I'll be using as always like this muddy muted colors. Let's begin. 5. Filling Shapes with Colour: Part 1: E. Let's fill our shapes with color. So as you can see, our landscape consists of different hills and mountains and objects like trees and bushes, on the background, the house, and two sheep on the foreground and a little bit of hither. We're going to start filling the shapes according to the way sort of they come closer to us. Think of it like paper collage. When you start placing pieces of paper on your canvas, and one goes behind everything else, the other goes on top, et cetera. Don't worry. I'm going to talk you through. For that, I'm going to create a new layer and immediately place it between my sketch layer and my background layer. And I'm going to change the blending mode of the sketch layer to multiply, so I don't see any white color and only see the lines. And I'm going to reduce the pacity a little bit. In this way, I will still see the lines of my coloring page of my sketch, but I don't see the white background which will help me see through the colors. I'm also going to change the background color to, like, pinkish type. You don't need to do that because, in fact, the only piece of that pink you'll see in the end is this sky. So I'm just going to change it in case I forget later. And I'm going to start filling my objects with color. So as I said, for this, I'm going to go to calligraphy set, and I'm going to choose monoline brush. That's what I'm going to be using. And I'm going to start filling my objects with colors. I'm not guys dwell upon which particular colors watch I'm going to be using for every single object. I can only tell you that I'll be sticking to more or less traditional colors. A lot of green, the trees will be green, the tree trunks will be brown. The sheep will be some beijic color. You will see. But I'm just not going to make it too complicated explaining which color I'm going to use for, which, especially if you are using your own color palette that you prefer. I just don't want it to be too confusing. So how I'm going to start filling objects with colors? I'm just going to outline using my monoline brush. And close the shape. As you can see, I'm not bothered about this part because I can see this hill is going to overlap. I'm just going to drag the color from this watch and just fill it like this, just like this. That's the first hill I filled with color. What else is important? I'm going to create a new layer for nearly every object of this landscape. Why? Because I'm going to apply different textures to these objects. Some of them overlap, so I want to keep them separate. The exception to that rule will be if you have different objects on, quite far apart on the canvas, and they're not overlapping. In this case, you can place them on one layer. For example, these gs. So next object I'm going to fill is this hill. And I'm going to grab this pinkish color that reminds me of like Scottish hair the fields, and I'm just going to drop the color on top of it. Next layer is going to be this hill on the background. For that, I'll be using this nice orange color representing autumn. I'm going to actually increase the size of my monoline brush. So I'm not following the lines. It's all about freedom, guys. You don't need to precisely fill in the lines like this unless you want to, of course. But, as long as this area is covered, next one will be this river. For that, I'll be using this light blue color. See every time you see that something else overlaps your object. Don't worry about the bottom part of feeling, so just feel it freely, what whichever way you prefer. Also, if you feel that you went over the lines too far, just grab the eraser with the same monoge brush and just gently rub it out the unwanted areas of your object. But as I say, our point here is not just to create a perfect picture. It's just going to be a free hand flowing illustration. My next object will be this fir trees, and you see these are overlapping, so I'm going to place each tree on a separate layer. I'm just going to grab some nice green color, maybe reduce the monoline brush capacity, and I'm just going to over outline this tree. The first one. New layer. I'm just going to put various shades of green just to keep it a bit more interesting. They are not merging together, especially they are overlapping. This one looks like it's a little bit behind, so I'm just going to put it on the background and the color for I'm going to use even darker green. I like quite similar shades of green, but yet yet different from each other. Now we've got our trees standing there happily. Next, I'm going to fall this ill with color. I'm creating a new layer for that, and I'm just going to grab maybe this reddish color. I couldn't increase the size of my monoline brush. I'm just going to make sure that the series filled. Maybe remove this one, just to keep a little bit more interested. Next part is going to be this grassy part with the house standing. Let's create a new layer and I'm going to probably use this brighter green color, and I'm just going to outline not bothering about the bottom part because it's going to be overlapped with other objects. Next layers, I'm going to put these bushes and this tree on the same layer because they are not overlapping, they're quite separate, and that will give me the opportunity to apply different texture brushes on them if I want to. But this tree is going to be separate because it's overlapping. You'll see what I mean. I'm going to create a new layer and similar to what I did with this tees. I'm just going to use different shades of green. For example, this blob representing a bush will be that shade of green. The same shade of green I put on this little bush, and I'm just going to grab a different shade of green and this bush will make it. Maybe this tree leaves. Leafy part of the tree will be that shade of green. And the final one. This tiny one, I think I'm just going to make it. I'm just going to try if this is I think that works fine. So Yeah. So as you can see, I left this tree out because it's a separate one. It's going to be overlapped. So for that, I'm creating a new layer, and I'm just going to use really light light green to make this tree. You see my landscape is basically a very, very early autumn Scotland when some fields started already getting orange and yellow, and the trees are still green mostly. That's that. Now I'm going to make the layer of these tree trunks. I'm just going to put them on the same layer as well as they don't overlap, and I'll probably use two different shades of brown just to make it a little bit more interesting. Outline. The shape, fill it with color. This is going to be this type of brown, for this tree, I'm just going to put this type of brown. Almost orange, but I don't. The next layer I'm going to fill is this grassy part with on which my sheep are standing. I'm going to create a new layer and with this sage green color, I'm going to fill. Going to make it slightly thicker. A bit more in control. See I'm going to fill this part, green. So next layer is going to be the house. And I'm going to use different colors for each part just to separate them from each other. Visually, but I'm going to be using them on the same layer because I'm going to cover it with the same texture. So using this lighter blue color. I'm just going to fill this wall. By the way, guys, don't mind the perspective. The the perspective is really nonexistent. So I'm going to grab this a little bit like more saturated blue. For this part of the house, then I'm going to fill it in. And see I keep them on the same layer because I'm going to apply the same texture to them. And for the front part, I'm going to be using this lightish beige pinky. Color, just to separate it from the rest. I'm quite happy with that. Not trying to make it perfect, so no judgment, p. And maybe I'll just clean up the bottom of it, just a tiny bit. That was my next layer, the house. My next layer, I'm going to just put the roof. Over my house, for that, I'm going to use the darkest brown color for it to pop up up a little bit. I'm just going to outline the roof. Film, and maybe just a little bit in here. I'll see you in part two. 6. Filling Shapes with Colour: Part 2: B. Next layer is my sheep's bodies. So it's like mommy and baby sheep. Not the whole sheep, just paying your attention. It's the sheep's bodies. Actually, on the hindside, right now, I think maybe I feel the legs first because I've got this dark brown color, and I actually have the intention to use it, and I'm going to put all the legs in one layer. First of all, they are apart from each other quite far and second and more important is that I have no intention to fill the sheep's legs with the colors because we're going to leave some of the elements without colors. Which is fine. That's the sheep's legs, and the next layer I'm going to create is the sheep's bodies. For that, I'm going to be using very light color. I think it's going to be this bisic color. But again, you can use whichever color appeals to you. I'm going to use this curly wavy line. Why? Because I might want to leave it like this or I might use the more like texture, eraser to make the four fluffier. It's your personal choice. On the baby ship. And the baby sheep. I'm just going to fall the shape or the color. The next layer I'm going to put is the m shes this front chest fur, some sheeps are quite f. For that, I'm going to use this bright brown color, which quite like. I think it goes works well. For this purpose. I'm going to fill it with the color. Next layer is let's fill the sheep's heads and faces. I'll show you how separate layers, it's going to be. I'm going to take the lightest color like this one. I'm f of all fill the b's face. And with the same color, I'm going to fill the bang sheep's face. And on the new layer, I'm going to make the the baby's ears, the Lamb's ears. Pinkish. I would like to make this part of the mom sheep's face different color, maybe pink as well, on the same layer, no need to create new layers for that. I would also probably like to make this part black. I'm going to actually even use the clipping mask for that. I'm just going to fill this part with black, with darker charcoal, and I'm going to use pure black for the big sheep's ears. And I'm going to put the little tail on the lamb. I think I'm just going to use this like beige color on the same way and maybe the little face as well. Like pinkish. L. Yeah, I'm quite happy with that. I always switch off the sketch layer just to see how it's so in the coming together and it's perfectly fine. I'm not going to try and perfect anything because that's not the point. Moving on to the next layer, keep laying our object. The next layer is going to be this bush, which I'm going to use darker sage green with Is going to fill it. Next layer. In fact, I'm going to fill this one at the same time. Despite the fact that it's going to be a different color all green, but the objects are separate. So They are okay to stay on different layers. Next object is the stream. So F, I'm going to use the lightest color of the leaves part. To be honest, I can put the leaves of the heather on the same layer with that same tree using same green color. Reduce. I'm just going to vary different shades of green. For this layer for these leaves, little bit. I'm just going to grab maybe this bright green color again. It's nice to use variations of colors just to make it a little bit more finished, more thought through, if you like. And the stems are probably just reduce the size of the monoline. I'm just going to d the stems of the header. And on the new layer, let's put the tree trunk for our tree using this soft brown color. S. Sorry. See, I'm not following my coloring page precisely because I just felt that this type will be better to use. And finally, I'm going to fill the he with different shades of this pinkish pinkish purplish color. See, I'm just randomly filling the pieces of heather. Just going to grab the different shades of the lycy purple. The same purpose just for the interest. Finally, the darkest ones. A on the same layer, they are not overlapping and going forward, I'm not going to color. I'm not going to cover the head of flowers with any texture because the reason is because the details are too small, you probably can hardly see them at all, let alone the texture of them. Maybe I'll just add this reddish color just to make it a little bit more special. P. That's our here, the filled in, and finally, the very last big layer. I'm going to f the object is the stone wall because it's on the very foreground of everything covering everything. For that, I'm going to create a new layer because it's going to be covered with its own texture. And the color I'm going to use is the soft brown color again. I'm going to increase my moe size, and I'm just going to fill it in with the color. Just like that. Let's switch this kit sore, fancy. Yeah, I think it's coming together nicely. And finally, what I'm going to do. I'm just going to add the little details. I'm not going to dwell too much on it. I'm going to speed it up, but you will see the colors I use. It's going to be the sheep's eyes, noses, and the house details. And again, guys, this is not important. You use whatever colors the decorations you'd like because those little details are not going to be covered in texture, and you will see it in the next lesson. So now I'm just going to fill the objects I'm just going to add the details of M. I'm just going to speak it out. Oh, that's it, guys. That's pretty much ready. I can switch my sketch off. And here we have an illustration that we are ready to start filling with color enhancers and textures, which we're going to do right in the next lesson. See you then 7. Applying Textures: Part 1: D. Now, let's begin the magic. Let's start filling our prepared colorful objects with different textures using the texture brushes. So as I said, textures brushes come in all shapes and sizes. They can be represented by natural materials of nature. Sometimes they call pattern brushes, which show different intricate designs like flowers, leaves, birds, et cetera, or some ethnic motifs. So we're going to just agree that we all call them texture brushes. And for filling this landscape of ours, we're going to be using the texture brushes that I provide with this class. They're called landscape textures, and I'm just going to talk you and walk you through every single step, how to make our illustration, how to bring it on the new layer, how to be to make it more professional, more, beautiful, more finished and magical. So we've got the stack of our objects on separate layers, and we're going to start filling them with different textures one by one. So in the same order as we've actually placed them on this canvas. So our first layer is this hill on the background. You can barely see it, but it also deserves some attention. So let's just give it its own texture. So I'm going to create a new layer, and the technique we're going to be using here is clipping mask, is one my favorite ones, and some of them will be using clipping masks and others we won't just for different effects. I'm going to talk you through through that. So in this particular hill, I'm going to create a clipping mask to that layer, and I'm just going to grab from the landscape textures. I'm going to grab the brush as called short grass. And the color I'm going to use is this lighter color. Or use darker one if you prefer. I'm just going to maybe reduce the pacity a bit, reduce the size, and I'm just going to fill this hill with that. But the real magic starts to my mind is when you start playing with different blending modes. See if I start the blending mode, the color is literally changing from beige to light green to brighter white. But for this one, I've chosen this blending mode called subtract because it makes this effect of contrast of darker colors. I can always reduce pacity if I feel it's too intense, so that's precisely what I'm going to do. I'm just going to reduce pacity to maybe 65%, effect it's not that harsh. And also, if I'm not particularly happy with the way it's placed, I can always play around with the size and positioning. And even the direction of the movement. My grass will be, I would like my grass to be slightly directed to one side. Yeah, I'm quite happy with that, and that's exactly the technique I'm going to use for every object just with different blending mode. For this pink hill, I'm going to create a new layer, and that's precisely the case where I'm not going to use clipping masks and here's why. The texture I'm going to use on this pink hill is long grass. The color I'm going to use is this like this bright pinkish almost white color. And I'm just going to draws crass, like this, like so and see the reason why I've not clipped it as mask because I like the effect like it overlaps the hell edge, and I'm going to just change it to slightly strata movement. I'm just going to add a little bit here and there. Yeah, quite like the effect. You see it's an absolutely different contrasting texture. Let's see if it's going to benefit from reducing the opacity, it might, but I think it's all right like this. This beautiful orange is going to be filled with Daisy fields. The color I'm going to use is maybe this yellowish. Let's see how it's going to work if I please. Pacity. You see, the tone is too similar. I want a little bit more contrast. I'm going to pick another color. I'm going to pick this neutral color and I'm just going to fill fill this beautiful hill with the daisies. See, I think in this particular case, I don't want the flowers to overlap this hill, so I'm just going to use a clipping mask. So the flower layer is firmly clipped to our orange hill layer. Next one, I'm going to put some texture on our river. Here, I definitely I'm going to be using the clipping mask. And the texture I'm going to be using is rain. And I'm going to show you another effect. You can make so I'm just going to apply this rain brush, but I'm going to use it for my water. And as I said, you can change our river is floating from top to bottom as all rivers to, and I want to direct this scratches like in a little bit more following the river way. For that, I'm going to choose distort, so I'm going to choose the transform tool, distort, and I'm just going to bring the edges a little bit closer together and further apart here to give this effect. I can even use the rap function just to play around with the different wrapping way. And I think I'm quite happy with that. I think it's just it shows like the water flowing nicely. Next, let's look at those fir trees. So I'm going to create a clipping mask, and these trees are quite dark, but this one is the lightest one, so I think I'm going to be using darker. Oh, by the way, guys, going back to the daisies and trees. If I don't mention the change of the blending mode, you can still play around, but in my case, it means it's normal. It means that I've not changed it. So in case of this orange hill on the river, the blending mode is normal. However, you experiment, play around. I strongly encourage you to do so to find out which way you prefer. So going back to our first tree. So for this one, I think I'll use darker color. I think the color I'm going to choose is as dark as green, and I've got these two beautiful brushes, evergreen one and evergreen two. Let's experiment which one is going to work best. I'm going to grab the evergreen one. I'm just going to cover my tree in this little gentle strokes. You can again use the stored and bring them in a cone shape going from bottom to top. Just like quite like that. Let's play around with blending mode if anything is going to change. Color burn is a little bit to tense, multiply to intens. You know what, guys, I'm just going to leave it normal, quite like it like this. These two trees are darker, so I'm going to apply slightly lighter colors on them. I'm going to create a new layer with a clipping mask for this stream. I'm going to try and use evergreen tube. And the lighter color. Maybe this this lighter green. Yeah. I'm going to reduce the size of this brush, and I'm just going to gently with this texture. I think that's quite cute. And let's use even lighter with the same brush, but even lighter green color, this like sage green. I'm just going to use the different motion strokes. I'm just going to reduce capacity a little bit, so the trees are quite fuzzy and the like. I'll love that effect, in fact. Yes, that's how trees filled with the textures. So far so good, guys, can you see that it's all coming together as a very, very magical piece, but we're going to make it even better. For this, we're going to be we create a clipping mask on a separate layer and I'll be using Leaves. So by the way, guys, the names of the brushes shouldn't confuse you. If it's called leaves, it doesn't mean that it's strictly for using for leaves on the trees. It doesn't mean that. You use leaves as grass, you use flowers on the trees. You use whatever you prefer. So there is no strict rules applied here. The color I'm going to use, maybe the pinkish color. Let's see, Yes, quite like that. And let's just fill this hill. This like leaves texture. Don't worry. They the hills look like they're blending in together at the moment, but we will work on it. We will enhance the color. Next layer we're going to fill, is this grass layer, and I'm just going to create a new layer with a clipping mask. And I'm just going to use the same brush as we used for that hill, which is called short grass, and I'm going to use the slighter green color. Use the size of it a little bit. And let's play around with blending modes. Oh, I like that. That's like rape seed. But I think look, I quite like this delicate Blending, I'm going to use pin light and move on to the next one. Next one is the trees and bushes. Not to over complicated, guys. Let's fill them all with the same texture, which I think will be missy fur despite the fact that it's called fur. I still would like to use it on the trees on my trees. I think I'm going to use this lighter beige color. I'm just going to fill them. It's going to be quite delicate. So that's why I'm just going to maybe reduce the opacity of the layer. And actually, let's play with different blending modes and see which one works best. I think overlay, actually, quite like overlay. So you can still see this little fuss going on, but not too much. Next is this tree, and this tree is going to be filled with dufted leaves texture. And I'm going to grab this like more saturated green color. And I'm going to fill the leafy part of the tree with that texture. I'm going to grab the uniform function of my move two. And I'll see you in part two of this lesson. 8. Applying Textures: Part 2: Ed. Right. I hope you are not too tired. So next, we are moving to the tree trunks clipping mask. I know already that I'm going to use darker color, so I'm just immediately going to change the blending mount to multiply. And the texture I'm going to use is tree bark. And the color I'm going to use is this saturated brown. See, despite that's the tip I would like to show you. First, this brush is too big for the tiny trees. What I'm going to do, I'm going to fill larger area without clipping it to the trees. Now I'm going to clip it, and I'm going to grab this layer with texture, and I'm just going to reduce the size of it. And you can see now it give this nice smaller texture of the tree bark. That's the exact effect. I'm after. Next, I'm going to fill this grass where my sheep are standing. For that, I'm going to create a new layer. I'm going to clip it. The texture I'm going to use is salted wash. Watercolor texture. I think it gives the grass as you see the little tufts, obviously, the blending mode needs change because at the moment, it's almost the same color as the background grass. And I'm just going to use linear burn blending mode and look immediately how it pops up. It brings the color up. Next, the house walls, creating a new layer, clipping mask, and I'm going to use bricks. I think again, I'm going to clip it because I want to play around with the size of the bricks. The color I'm going to use is this yellowish ocher. And I'm just going to create the texture first. Why am making it so big guys? I can reduce the size of it of course. I'm going to clip You can leave it like that, which is quite interesting as well. But I'm going to grab the transform tool and maybe reduce the size of the brakes. I think for the purpose of my illustration, this probably size works better. I'm going to try and play around with blending modes. I think multiply is the one I'm going to be using quite nice. Next, we've got the roof, and with the roof, I'll come back in the very end of this lesson. Now, the sheep's bodies. I'm going to create a new layer, not going to create a clipping mask. First, I'm going to start with a big sheep. Swirls is the brush I'm going to be using for the textures, and the color I thought I'd keep the same as for the bricks. I'm just going to fill. And the reason I've not created the creeping mask because I'm going to create it right now and play around with the size. I think I'm going to make the size of the f of the bigger sheep bigger and the smaller sheep of the lamb smaller. So I'm going to change the blending mode to color bones a little bit too yellow. I'm just going to maybe play around. You see what different of as to green? Yeah, but you can see how powerful this blending mode. You know what, guys, I quite like the screen mode, maybe slightly reduced. Pacity. And now I'm going to create another layer for the small sheep, not creating the clipping mask yet for the same reason because at the moment, I'm not sure about the scale of the swirls. But I'm going to grab a different color just to make it slightly more different, this sort of like beige more muted color, which is exactly the same color as the little sheep's body, but because of a different blending mode, I'm just going to change it to color burn, and I'm going to create a clipping mask. You know what, guys, I'm quite happy with the scale of it. See, I can play with the orientation or maybe this. The bigger sheep's f is larger in size and the little sheeps for slightly smaller in size. Let me see color burn is quite yellow. I think guys, I'm going to do multiple multiply, and just going to reduce capacity a bit. I hope you're not too tired filling your texture. I hope you are having fun, and let's move on to the next one. Next one is the fur on our bigger sheets front part of the body, and I'm going to create clipping mask and I'm going to use missy fur with the same basic color I used for the little sheep. I'm just going to fill. With the texture, and I'm just going to play around the blending mode. I can see that it's too intense because that's why I just reduce pacity right away of this layer. I think I'm going to use screen blending mode with reduced capacity. Next, leaving the sheep's faces at the moment, Now, let's fill these two bushes with textures. So you can see that this bush is quite dark. It almost merges into the grass on the background. So I think we're going to use lighter texture to cover it. So I think let's use the tufted leaves. I'm just going to grab the s like lightish color. And I'm just going to fill both bushes with this pattern with this texture. And as always, I'm just going to have a look what blending mode works best. I like lighter color. Oh, I like overlay. Look how it makes it like delicate green and yellowish on this bush. Yeah, I'm going to leave it like this. Next is this stree. We've got the heather leaves as well here, but I'm not going to fill them with the color, but I'm going to fill this one. This one, I think I'm going to fill with the actual leaves with a darker color. Maybe reduce the scale of them just a tiny bit. Yeah. I know it looks a little bit messy, but I think that's kind of the style we are going for. It reminds me of like paper collage or different types of fabrics, you know, like, different colors and textures and patterns like cut and put together. I love this style, and I hope you love it too. And if you take my class, likelihood that you're a big fan of this style as well, so I hope you're enjoying it rather than feeling tired and overwhelmed. And now I'm going to fill this trunk with the bark of the tree. Stream bark. I'm going to create a new layer and I'm going to grab this lighter color this time. I'm going to fill larger area than the trunk. Why? I can scale it down. Now I'm going to clip it. Quite like the way it looks, but I think I'm just going to scale it down at just to give it a little bit more texture. I'm going to play around with the pent mode. And the think I'm going to use lighter color. The very last object we're going to fill is this wall on the foreground. We're going to create the clipping mask and The texture we're going to use is quite straightforward is called stone wall. And the color I'm going to use is grayish page grayish, and I'm just going to fill. It looks like the actual wall. Let's see what blending mold is going to work best here. Like that. O maybe still I want to use a lighter blending mode. I think I'm going to use light lighten and I'm just going to reduce the capacity a little bit. As you can see, guys, we filled almost nearly all the objects on this on our illustration. But I would like to point out a few things. The eyes and the facial features of the sheep, I'm not going to use any textures or the house windows and little details. Not going to fill them with any texture either. Neither am I going to fill the sheep's legs feet with a texture because it's just going to be too much and they're too small to see any texture anyway. But what I'm going to do, I'm still going to add a little bit of a delicate texture here and there. For example, the roof, I'm going to create a clipping mask, and I'm going to take delicate scratch. Brush texture brush, and I'm going to just apply a little bit with this grayish color. Just a tiny bit on the roof, just so it's not too flat. See, it's not very texturized, but just the hind, and that's it. And on the sheep's actual faces, so see. On this black part, darker part of the bigger sheep, I'm going to use the smooth noise. And the color I'm going to use. You know, I'm going to use the same gray color. I'm going to reduce the pacity. Maybe even the size, just a bit to make it just a little bit fuzzier. Maybe reduce pacity a little bit. And I'm going to create another layer and I'm going to use maybe this yellowish ocher just to create some fuzz on the lambs face. And the dark and blading bond. And that's it, the ears, the eyes, the noses, the feet, the tail. They are all just stay the same flat, just for a nice variety. And that's it, O textures are all in place. And the next part, I'm going to show you how to enhance your illustration and to bring it to a new lever of finished and elaborated. 9. Enhancing the Illustration: D. All right. In this part, we're going to make our illustration completely finished. You know, like, I've been contemplating about, different art styles, illustration styles. And to be honest, looking through multiple dozens, thousands of illustrations online and pinterest in children's books. I can tell you that you can safely leave it just as it is because this style has the right to exist. But in case you just want to soften it a little bit, just to make it a little bit more profound to add a little bit more depth to it. This chapter, this part, this lesson is for you. Optional. You decide whether you prefer to leave it like this or to enhance it a little bit. And in case you don't want to enhance it. This is how I suggest that you do it. First of all, first level of enhancement is the color. If you feel like the colors are a little bit flat, let's add a bit of variety here and there. And we're not going to enhance the color of every single object because just because there are too many and there is no need in my opinion. Like for example, that far away hill, it's already quite. Interesting, it has this variety of colors and textures. But let's add a little bit maybe on this hill because it might look a little bit flat. For that, I'm going to create a clipping mask as a new layer. I'm going to grab the smooth noise delicate brush, and I'm going to use the same color. As the hill itself. Only I'm going to change the blending mode to multiply. Let's see what's going to happen. I'm going to start adding a little bit of darker texture. Let's experiment. It can be actually on top of this layer, and I actually quite like it on top of it. Let's just maybe remove this part a little bit. You can use this brush with this like tapping motions. I feel like I want to add some even a little bit of orange color just a tiny bit, and maybe just a little plunk of green. Yeah. Maybe a bit. Here. See, it's not changed much. But there is just a little bit more texture going on there, more color. Next one, I would like to work on this one and I can feel like I would like this part a little bit darker. Again, do I add it on top of the texture or do I add it in the bottom of the texture? Let's try on top of the texture. With the same brush, smooth noise. I'm just going to add this orange brown with reduced capacity. At the moment, I'm not liking the way it looks, but I'm sure that after changing the blending mode from normal to look, I really like linear burn. That gives it even more autumn character. Yeah, I think I'm going to leave it on linear burn, but I'm going to also grab a different color maybe greenish and add a little bit here and there with the tap tap tap motions. Try to experiment with different colors. You see orange in linear burn turns into lovely red. And I think that's lovely. I think it gives a variety of colors for our hills. And, I think I'm just going to leave it. I don't want to overdo it. The river, I think I might just add a bit of with multiply blending mode using delicate scratch. I might just use a little bit of darker color here and there. Must not noticeable. Yeah, I think I'm quite happy with that. Another object I would like to enhance is this hill. It looks a little bit flat. So what I'm going to do this time, I'm definitely going to create a new layer underneath the texture and I'm going to Change it to multiple mode right away because I'm going to use the same color as the field itself. The brush I'm going to use is delicate scratch. And I'm just going to delicately scratch my hail. See only in the edges. L et's try and change the blending mold or color burn. Look at that. It's really burning. Line quite like line burn, maybe a little bit reduced capacity. And I'm going to grab brownish this brownish color just to add a little bit more variety with the same gentle scratch. Brush, I'm just adding a bit of darker areas here and there. Could maybe add a little bit of also darker color on the multiply mode on the new layer. I think this time I'll be using the emphasizer to this grass because you see like this bushes are just a tiny bit merging. So on top of the lighter texture, I'm just going to use the emphasizer. And just walk around this grass. Yeah, I think it's bringing it up quite nicely. At least you can see the bushes now on top of it. It's really up to you guys what you decide to do. Now I'm going to add a little bit on my sheep's bodies. I think I'm going to use crackled rock texture just to try and the color I'm going to use is this grayish color. I'm just going to add maybe a bit of te and color on my sheep's bodies. Maybe a bit of a darker color on this part, multiply mode. I'm going to grab this deep brown with the same crackled rock texture. I'm just going to add a little bit of texture here on top. Yeah. I think maybe the face of the lamb is a little bit too flat, so I'm going to create a clipping mask. I'm just going to grab the smooth noise. This may be yellowish or csh color, reduce the size of it and just add a little bit of texture here and there. Yeah. I like that. I feel like maybe it needs just a tiny bit around the face. With the salted wash, I'm just going to I've added a little bit of color around my sheep's face, and the blending mode, I changed to darken. And not to overdo it, guys, I'm not going to add any more apart from, I think I'm going to add a little bit to this wall just to make the balance bring the balance together. As you see we've got darker edges of the whole picture. So I'm going to create a new layer. I'm going to create a clipping mask and because I know already that it's going to be a darker color. I'm going to change it to multiply with potential changes to linear burn. And I'm going to use generic texturiz. The color I'm going to use is the same color I used for the wall. And reduce pacity. And that's the color enhancement done. Another thing you can use to bring your illustration on the slightly different level of style, As I said, you know, I love the effect of this cut paper of fabric and the cand layers of collage put together. But if you wish so, you can soften some of the edges of sharper edges. For that, I'm going to use, so I'm going to go to charcoals set. These are defaulted brushes of procreate. I'm going to use to be compressed brush for my erasor. And I'm going to try and see how it's going to look if I erase some edges. For example, if we start like picking sharper edges, this edge is quite sharp of this grass. I'm just going to try and gently rub the sharpness of it off just to make this part just a tiny bit softer. I think maybe the edge of this. Hill as well, it stands out as too sharp for me. I'm going to do the same on the layer where we filled with color using the razor tool with two becpressed charcoal brush. I'm just going to gently with quite small size, rub the edge of and probably what I'm going to do. I'm going to is sharp edge of the sheep's body. Just to make them slightly more fluffy, slightly fluffier because sheep are fluffy. Yeah. And the very last thing that you could do is to put their overall texture on top of your illustration. So how I suggest you could possibly do that. So you can create a new layer and pick a brush. Texture brush, like for example, six B compressed and charcoals, just as an example. What I'm going to do, I'm going to increase the pacity to 100%, and I'm going to increase the size to 100%. You can pinch your illustration to make it small. I'm going to use the dark gray color almost black. What I'm going to do, I'm just going to color it in like so. Of course, as you probably have guessed, I'm going to change the blending mode Oh, gosh. S. No texture on with texture on top. But that's with darker color. You can always use like brownish color to give it more CPL. This brush in my opinion, it's a little bit too harsh. So I'm going to try and use to be compressed. And just give picture this texture. And let's play around with blending modes and see how it's going to look. Se it gives this, like that. You can always play around with the opacity of the layer. But you see it gives your illustration completely different overlay overall look. You see with that I hope you can see the change of the tone. And that said, guys, go ahead, create. Please share your project with me. I love seeing your artwork based on my tutorials and lessons. See you next time. By 10. Final Thoughts: Thank you so much for taking my class. I hope I've managed to inspire you for creation beautiful artworks. Please make sure to upload them here on skill share or feel free to upload them anywhere on social media. And if you tag me, it would be just amazing, and I would be eternally grateful. What's very important that I would like to mention? The techniques I've shown you in this class are very, very simple. Feel free to work on your artwork longer. I didn't want to show you every single thing I work on when I create my illustrations. I would like to give you the base that you can build upon and to inspire you for your own creations, for your own little technique, how to perfect your artwork, how to make it more finished, how to make it more magical. Thank you so much. See you later. Hey.