Texture Magic: Creating a Paper Collage Still Life

1. Class Overview: Hello, and welcome to my new class. My name is arena. I'm an artist and illustrator from the UK, and the owner of the brand of By Ma Studio. I create my own procreate brushes. Do free pro creatoras, and give away loads of freebies. Come and follow me on my Instagram where I share the snippets of my creative life. This class is the second part of my texture magic series. And today, we're going to paint this lovely fan key still lif. I'm going to show you how I find textures from my illustrations in the everyday life. How to prepare your textures for the artworks and how to bring most of your textures and your illustrations. And in the bonus lesson, we'll learn how to apply some paper cut effects to your illustration. So grab your IP, grab your pencil, and let's begin the class. A 2. Tools and Materials: In terms of tools and materials, what you will need for this class? Well, first of all, you will need your iPad or iPad Pro. I use an iPad Pro, 12.9 " diagonal, and you will need an apple pencil compatible with your iPad. We'll be working on the screen size canvas, so you won't need any additional canvases. However, you will need sketch or as I call it coloring page, which you can find in the resources of this class. And once you've saved it, you will be able to add it from your saved location. It's called still life sketch. You will also need the color palette that I provide if you want to use the same colors as I do during this class, and if you want to repeat after me step by step, and the color palette is called still life. It's also provided in the resources section B this class. So download the palette. The textures will be using the class are provided by me in the resource section. It's a pack of nature textures and decorative textures. So you will be able to find them here in this class. So zip them and save them in your preferred location. There is also a PDF texture guide. There in that guide, I've put all the information that I use during this class about which texture to use on which object, and there are blending modes, capacity values, and colors. So I hope you'll find this guide helpful and make sure you refer to it if you feel confused or if there is something you need to catch up during the class. In terms of the brushes we'll use. This time in this class, we'll be using entirely procreate default brushes, and I'm going to talk you through them. So first of all, we'll be using monoline brush, which is located in calligraphy, default brushes of procreate monoline. With monoline brush, we will be creating shapes that we will fill with color during the class. Next brush, we're going to use is also procreate de fold brush, and it's in the sketching section of Procreate, and it's called six B pencil. It's a nice texture, thick. Pencil that I'll be using for adding little details decorative details on various objects on my illustration. And finally, the default brushes we're going to be using are my favorite charcoals, and I'm not going to specify any particular brush because they're all great and I encourage you just to choose any of them. And we will be using the charcoal brushes for adding color enhancement to our illustration. See you in the next lesson. 3. Sources of Texture: My personal favorite source of texture is nature. Settle veins on leaves. Patterns on the forest floor. Tiny blades of grass, fragile delicacy of flower petals. Take a walk in a forest, local woods, or a park, or even keep your eyes peeled every time you are outdoors. Mother Nature offers endless varieties of wonderful textures. I promise you'll find lots of treasures in nature for your artworks. These are the nature textures I picked for this class after my walk in the Scottish countryside. Limestone, stone decay, and tree bark. Another very easy source of texture can be various interior objects of your own home. Go for a tour around your house. Look closely at different furniture pieces, wall fittings. I particularly recommend paying close attention to items of decor. They often have curious and unique textures. Once you found an interesting item, grab your phone and snap a photo of its texture, either a close up or a slightly further away, depending on the scale you're looking to use in your illustration. Once you found an object with interesting texture, I recommend that you take a bit longer examining it. As texture, especially natural, can be very different on different sides and surfaces. Pick the part you like best and take a photo of it. And these are my little signs, Wooden apple, aster, and sin vase. Next source of texture I recommend is various fabrics. It's closely connected with the interior objects I mentioned previously, but I thought it deserved a separate mention. Curtains, sofas and chairs upholstery, carpets, cushions, jumpers, the varieties are endless. For example, these are the samples I picked up in a local interior store while choosing a sofa for my house. For this class, I photographed one of the swatches together with some felt and then in fabric I use for embroidery. And finally, if you want a quicker option of texture here and now, I recommend online market places and stocks where you can purchase or download for free various textures. The textures I'll use in this class have been downloaded from unsplash.com Paper and wall. I'm also going to be using some decorative textures. But I'll dwell on it more in the next lesson. 4. Prepring Texture: So now I'm going to show you how I've prepared my tree bark texture. What I'm going to do, I'm going to add a screen size canvas. And I'm going to add my texture, which I saved as a file directly from my phone after my nature walk, and I saved it on my iCloud drive and I'm just dropping it on the Canvas and procreate. In the resources section, the textures, this tree bark texture comes already prepared for your artwork. I've already worked on it, I made it black and white. I made it a little bit more high resolution. Oh, however, I'm just going to show you the process which you can apply to the textures of your own, if you wish so if you want some interesting texture to work with, the process will be similar. What I'm going to do? I'm going to reduce the size a little bit of this texture. See why I'm doing this. I'm just trying to create a little bit of a seamless texture because if I keep this tree bark, the weights. It's beautiful. It's got all these interesting elements going on of different depth. However, for my particular artwork, this is too scaled too big. I want to scale it down a little bit, so I can play around a little bit more and I can always expand it if I want. What I'm going to do, I'm just going to reduce the size of it and just going to create a few copies. I'm going to switch the visibility of the top three copies, and I'm going to take the second one. I'm going to grab the move too. And what I'm going to do trying to place the copy of my texture to match this like indents or the deep elements of the bark. It doesn't have to be perfect. Obviously, there is no way to match it perfectly because it's a natural object. It's all unique. L every inch of it is absolutely unique. But I quite like the way it is because you see more or less it's matching, it's flowing, more or less seamlessly. However, of course, you can see the scene. Let's switch another copy on and what I'm going to do because you can obviously see that this part is, more shaded than this part. If I place it here, there will be too much of a contrast between this light part and this dark part. What I'm going to do, I'm going to flip it horizontal and maybe just change the direction of it a little bit too much the previous one. And finally, this copy. I would also flip it horizontal. But again, not to make it too repetitive because you see it's going to, like, it's going to create a pattern. Which is not critical. I've tried and tested at all. It still can work well. But I'm just I just want to share the method I personally use with you. So I flipped it horizontally, and I'm also going to flip it vertically using this little options in the move too. And you see nicely I create an I can create a nice flow of this sort of like a vein. And I'm just going to leave it like this. So you already have a full canvas of the tree bark. Yet I still see the steams. And I'm going to try and mask. I don't really need the scope, I'm just going to delete it. You've create a few copies just in case. So what I'm going to do next, I'm going to pinch the slayers together so it create one solid texture. And I'm going to grab select tool, and the option I'm going to be using is free hand, but what also like a very important tip here. See this option feather, I'm going to just slightly increase the amount of feather, let's say to 7%. Look what I'm going to do. If you're familiar with photoshop, you probably know the clone stamp tool or the patch tool. Basically what I'm going to do is create a similar thing with that. Using the selection tool, free hand feather amount of seven. I'm going to select this piece of texture without the scene. I'm going to copy and paste it, so it creates you see if you look at the layers, you can see that my selection copied, so there is no hole in its place. You take Now, being on that layer, take the move to and just move your texture, trying your best to match this like the veins of the tree bark, however, not trying to make it perfect because I could take you a long time and that's not necessary at all. And I'm going to go ahead and pinch this together. I'm going to have another re if I can see other sharp seams on my texture. I think maybe This one, like vertical one because initially. I'm going to grab this free hand select to. I'm going to set the amount of feather to 7% because I'm quite happy with it. I'm going to maybe because it's the light apart, so I'm going to select. This part. Copy and paste, grab the move to, and move my selection in the middle. And maybe flip it horizontal, just to mix it up a little bit. It's not by no means, it's perfect. However, this is enough for us to use this texture on our artwork. You won't see all this like harsh seams on your illustrations. We made sure that the harshest ones are gone and the other tiniest ones, they will not be visible for an eye. So I'm going to pinch it together. Next thing, what I'm going to do. You will see going forward, and if you look at your textures that I provide in the resort section, you will see that this one is black and white, and the rest of them are in full color. That's again like another thing for you. So you can do whatever you like with your textures, you can keep the color, you can change the color. You can change the hue, you can add different color tones. You can change the temperature of the whole texture, for example, from yellowish to bluish depending on your illustration. In this particular case, I'm going to show you one of the ways to work with your texture. I'm going to turn it to black and white and intensify a little bit. What I'm going to do. Staying on this texture, I'm going to go to adjustments section, and I'm going to choose the very first option on the menu hue saturation brightness, and I'm going to reduce saturation to none. You can see that it instantly made it to black and white. I'm quite happy with that. Again, you can stop at this stage, use the texture the way it is, it's more subtle. But I also want to demonstrate how I often work with some textures. I make them a little bit more contrast more intense. There are many ways to do so, the way I do it. If you go back to adjustments, staying on that, you don't need to create any copies if you don't want to. But what you choose curves, and making sure that you're on the gamma option. I'm just going to play with the curves to create a little bit more contrast. And that's it. I'm quite happy with that. So, that's my texture ready to use my illustration. What do you do next with it? I personally leave it in my gallery. See, I've got different files which I used to create my illustrations and I keep it in my gallery. Next time we need it, we just swipe with three fingers. We copy it, we go on our illustration. We swipe and we paste. And I'll show you what to do with it. Alternatively, if you're creating a collection of your texture somewhere, which is also highly recommended because you can go back to them, reuse them over and over again for different projects. You can obviously export it. You can press range icon. You can choose share and save it as a GPE, for example, in your preferred location, you can choose it. You can save it in your photographs, you can choose it on your Cloud storage, just whatever you prefer in your texture collection. That's our tree bark. Another way of creating, preparing your texture is just to hand draw a little pattern. This is precisely what I've done here. I'm going to show you, you don't need to dwell on anything for too long. You create a new canvas of square size. In my case, it's square, but again, it can be any size. It doesn't really matter. And I'm going to grab six B pencil. I'm going to grab this like charcoal color. And what I'm going to do, I'm going to draw very, very simple florals. Just like this. I use this pattern a lot in my artworks. I really like the simplistic dis type flowers, doodly. I'm creating a variation of different sizes of my flowers to add a bit more interest. Maybe even the tiny one. H. What I'm going to do. I'm going to duplicate this layer, grab the copy of it and just play around positioning it to create a pattern type. Guys disclaimer, this is not going to be a seamless pattern. I'll create a separate class on seamless patterns, if you would like to see that. But in this case, this is going to be just a pattern to apply to our illustration. I can even play with the size of it a bit quite like that. And make just as many copies of this layer as you wish. You can even fill the rest of your canvaas with it. Just remember what's important to remember. In procreate, once something is out of outside of the borders of canvas, procreate is just going to cut it. So always make sure that you keep the copy of the original piece that you keep copying, you know, the original layer, the full one. So yeah. There is a pattern decorative texture radium and you can create a little bit marching together. You can create your own with any shapes and sizes, sea shells, different like twigs, branches, butterflies, whatever you wash leaves, or you can use my own and how to use it. Precisely the same way as you use the tree bark. I encourage you to save it as PNG though because because it's just easier if it doesn't have the solid color background to apply it to different objects. However, you can save it as GPG. You can choose different background colors or even the colors of the pattern itself, like invert, for example. Yeah, so it's up to you. And, Or and that's if you want to save it for your own texture coolction. But for this project, I'm just going to when it comes to our illustration, I'm just going to swipe with my three fingers. I'm going to copy it. And once I'm on my illustration, I'm going to swipe three fingers, and I'm going to paste it. They'll show you how to deal with it. Later. Yeah, that's it. 5. Setting the Base: So we're going to start with creating a new canvas. It's going to be screen size Canvas. First of all, we're going to drop our sketch, our coloring page that you can find, as I mentioned, in the resources section of this class. What I'm going to do right away because I will need the guidelines of the sketch despite the fact that I'm intending to get rid of it later once my picture, my whole entire illustration is ready at the moment I need it. What I'm going to do, I'm going to change the blend mode to multiply. Reduce the capacity a little bit, and I'm going to lock this layer so I don't accidentally draw or paint on it. I'm going to create a new layer and put it in between my background and the sketch, and the sketch will always stay on top. So I can use it as a guide. If you watched my previous texture magic class, which is the landscape, you probably will be familiar with the next step that we're going to make because it's going to be exactly the same. We're going to fill all our shapes with colors one by one in the order of their appearance on the canvas. I'm going to start first of all, with changing my background color. I'm going to click and using my still life palette. The color for my background, I'm going to choose is this grayish beige color. The very first shape I'm going to add is this picture frame. What's important, create every object or almost every object on a new layer because we will be applying different textures and what's more important, different blending modes to almost each object. The very first object, as I said, it's the picture frame. And the color, the brush I'm going to use is in calligraphy section, and it's going to be mono line. The color I'm going to use is this brown color, greenish brown color. What I'm going to do, I'm going to create using my mono line brush, I'm going to create the outline of this picture frame. I'm not trying to stay strictly in lines. And I'm just going to drop the color in. That's the picture frame. Next object we're going to create on a new layer is this picture insert with this floor or grassy part and the doc that. On the new layer, using my mono line brush, the color I'm going to use is this this color like really light, and I'm going to do exactly the same as previously. I'm going to outline And the area. Make sure that the line is close together because otherwise the color will flood the whole canvas. That's the picture insert. Now the rest what's in the picture, the floor, the duck, we're going to be creating as clipping masks on top of this picture insert. I'm going to create a new layer. I'm going to add clipping mask and I'm going to create duck's body. The color I'm going to use for my duck's body is this yellowish color. I'm just going to create an outline and I'm going to fill it with a color. Now, I'm going to create a new layer as a clipping mask as well, and that will be my floor on the picture. The color I'm going to use is the s from the right in the very bottom row bluish. Now I'm going to add the details to my duck. I'm going to add the wing, the cheek, and the beak. Creating a new layer as the clipping mask as well. All these little things are being clipped to this picture insert. The color for my duck's wing, it's going to be this third from the left on the very top, this brick color, and I'm going to fill the wing. The cheek is going to be this pinkish color in the corner. I'm creating it all on the same layer because you see these objects are not overlapping and they are in parallel. The beak is going to be this light orange in the very corner bottom row. So guys, that's the principle I'm going to use to create the objects on my illustration to prepare the base. I'm going to speed it up for you, and I will slow down when I want to dwell on certain points particularly. Oh. No. Oh. Oh. I fill the, the base of our illustration with colors, and these are the shapes that we're going to be applying the texture on. But you can still see that there are a little bit of unfinished elements here, like for example, this cup on the table. Missing the inside, whatever to coffee and ser. Why I wanted to dwell upon this little thing separately is simply because we are not going to be filling these details with texture. What I'm going to do, I'm going to create a new layer and I'm going to try and keep it as simple as possible. I'm going to drag the layer underneath this cups. They see my cups are on the same layer because they are quite far apart. On the new layer underneath the cups, using the same monoline brush, I'm going to choose this brownish color, which will represent milky tea or milky coffee, and I'm just going to add it to my cup. Let's switch the sketch off and see how it's going to work. Just going to clean up the edges a little bit. And I'm going to add the saucer on the same layer, and the color of the saucer will be this darkest navy blue. Now I'm looking what else I need to do. I can see this bowl, fruits. There is some empty space inside that needs filled. Somewhere in between the bowl and the fruits, Now, in fact, I'm going to create a new layer underneath my very background fruit layer. On the color, I think I'll use something lighter. I think I'll use even like this lightest color, and I'm going to fill the inside of the bowl, lighter color. I might clean up the bowls. I is just a tiny bed, but not dwelling on it too much. Definitely not spending longer than a few seconds on it. Yes, that's the inside of our bowl. What else can I see? I can see the bowl here, need some attention as well, so I need the inside of this bowl. I'm going to create a new layer underneath this and I'm going to use the slight basic color. I'm going to fail the inside of my bowl with this color. Now I'm going to fill the spoon. I think it's going to be wooden type spoon despite the fact that there will be no wooden texture overlapping it, but I'm still going to make it brownish type. I'm just going to fail. That's a wooden spoon. And the very last thing that's left here is the twigs with some pom pom type botanical, dried flowers. What I'm going to do. Underneath my jug layer because they will be coming out of the jog, I'm going to create a new layer, blanker using the monoline brush. The color I'm going to use is this very dark. Brown that I used for the picture frame, I'm going to reduce the size, and I'm just going to outline. Let's switch the sketch of and see if they are there. They are there. Let's clean them up a little bit just to make sure they're joined nicely together. Maybe some of the s. I could not dwell on it too much. On the very new layer, I'm going to grab my charcoal willow charcoal bruh in default procreate brushes charcoals. The color I'm going to use is the slightest color, almost white. And I'm just going to fill in this pomp poms with this like fluffy white shapes. L et's switch the texture off and I think it looks lovely. The duck is missing feet and the eye, I can see now, you see. It's nice to switch off sometimes. I'm going to create a new layer on top of the duck, and I'm going to use a clipping mask, though not necessary. I'm going to go back to my calligraphy brush monoline. I'm going to use again this dark brown color, and I'm just going to give my duck this tiny little. Feet on the eye like little eye lashes. Let's switch this sketch off and see. Yeah. That's the base for our illustration rating. In the next step, we're going to fill these objects, the flat colored objects with textures. Will play with different blending modes, and we will also add some color enhancers and add a little bit of decorative details. See you in the next part. 6. Applying Texture Part 1: Alright. In this lesson, part one, we're going to start we're gonna fill our shapes with different textures. And what I'm going to do, I'm going to start with a very background. And Remember where you save the textures that are provided together with this class, and you accordingly add them from your saved location. Minus saved on the cloud. So the very first texture I'm going to add is felt. This is going to be my very first texture that I'm going to apply to my illustration to the overall background. I'm going to stretch it. And the first thing I'm going to do is change the blending mode. In this case, my blending mode is going to be soft light. See it applied on the picture frame that I don't want that because picture frame will have its own texture. That's why I'm just going to drag the picture frame above my felt texture. And I'm going to maybe reduce capacity just maybe two to about 60 odd percent. So the texture is just barely visible, but still present, so it's not flat. Let's compare. No texture. With textures. It starts already like shining from a new angle. So next texture we're going to apply. The order we're going to be applying the textures is basically the same order we've created our colored objects on the canvas. So next texture I'm going to apply to the picture frame. So what I'm going to do, I'm going to create a new layer, and I'm going to create a clipping mask as always. And I'm going to drop my texture on this bland clay. And the texture I'm going to use here is the tree bark texture. So if you remember that we've prepared this texture in one of the previous lessons, you can always go back to your canvas where you've prepared a texture. In this case, you swipe with three fingers copy. And paste this texture on our prepared layer. Or if you just prefer to use the one that I provide, you simply go to your safe location and just add your texture from there. So this texture is black and white. I'm going to turn it like rotate it to make it more horizontal. And I'm going to place it like this, like so on my picture frame. And of course, it's black and white. The picture frame is brown, so I'm going to obviously change the blending mode. And the blending mode for this, I'm going to try overly and they might reduce the pacity, just a tiny bit, maybe to 79%. Yeah. Another wood and two wooden elements and the specture is these two shelves. And I'm going to apply the same texture tree bark texture to them too. For this, and I'm going to duplicate the bar tree bark layer. And I'm just going to clip it as a mask to my um shelf layer. But in this case, I think I'm just going to even reduce the scale of it just to find see like the nicest possible look. I would also like to pay your attention how different, depending on the color of your object, how different the texture looks with the same blending mold, same texture. So you see this lighter color shelf looks quite nice, so you might consider making a picture frame of the same shade of brown, to make it slightly lighter. So it's up to you. Next object we're going to fill is our picture insert. All the object a clipped as a mask to our picture insert. So I suggest that maybe if you're happy with it, if you are not planning to alternate anything, just pinch it all together. So the insert is one layer just to save the space and to not to have too much confusion. Create a new layer added as clipping mask, and the texture I'm going to drop here is the paper texture. That I've downloaded from Splash. I'm going to insert the file and the file is called paper. I'm going to reduce the scale of it. Not too small, so you can still see this texture elements. And now I'm going to show you another trick that I use sometimes. So you see this texture, this paper is basically a very light color, a lightish grayish color. So what I'm going to do to intensify this see a little fibers on this paper. I think it's like type of a coconut paper or something. What I'm going to do, I'm going to invert. This paper texture. For that, you just click on, tap on it with your pencil, and select invert. You can see that it immediately inverts itself into this very, very dark blue, almost black. But now we're going to change the blending mode of it to difference. So you see it did make our picture insert slightly darker, but it gives this a nice papery effect, like almost like craft paper, and you can see this little fibers of the paper. And I find that in this particular case with this paper, It's the best way to achieve this effect. I try different ways. I consider different type of paper. I've used my own paper. But I like this. I wanted to show you this tip, this approach, which also takes place very often in my illustration, so I just wanted to share it with you. So that's our picture insert texturized. Next texture we're going to apply is to this back of our chair. And the texture we're going to apply is limestone. So I'm going to create a clipping mask on top of the chair back, and I'm going to insert my limestone texture. I'm going to probably reduce the scale. Se. That's obviously the texture I photographed in the woods from one of my woodland walks. So I kind of like this darker part, here, a lighter part here. So I've almost reduced the size of the texture to the size of the chair. To to show this n light transition and the blending mode. Here, I'm going to change to multiply. N pacity, I'll keep 100%. So now it's kind of this ritual almost like rusty brown color. Next object I'm going to fill is this tabletop. So when I was creating this illustration, my idea was to create a farm house type still life, like, table arrangement. And this is supposed to be table cloth made of quite rough linen. So the texture I'm going to use here is my own linen picture that I photographed. And I've also I've provided two linen textures for this class, one finer and one a little bit rougher. So the final one I prepared using the same method I described to you in one of the previous lessons of this class. So for this picture, I'm going to use for the tabletop. I'm going to use the finer texture. So I'm going to create a new layer, clip it as a mask, and I'm going to insert a file and the file I'm going to use is linen finer. I'm going to make it scale it down even a little bit as just a tiny bit more. Just like this. See, I skew it a little bit. I turned it, so it's not like flat geometrically. And the blending mode I'm going to use here is darker color. What it did, Look. It just basically shows through the darker parts parts of my texture, and I think it gives this tabletop a really nice effect. Next object, I'm going to fill. So we filled our shelves. Next object I'm going to fill is this fruit. Oh, guys, I just realized I forgot to add one tiny detail to this fruit. S to my fruits, this little sticks. So I'm going to correct my mistake. Happens. Nothing crucial, nothing critical. I'm going to create a new layer. I can flatten it later, and I'm just going to add this little sticks and using the greenish color I'm even going to add this little leaf. To my apple or orange or whatever fruit it is. Yeah. So quite happy with that. And the fors texture I'm going to apply to this background fruit. I'm going to create a new layer. I'm going to clip it as a mask. And the texture I'm going to use as wooden apple texture. So if you remember in one of the previous lessons, I showed you that I photographed wooden apple. And because I really like that wooden effect, I'm just going to scale it down as much as I can to fit it, and I'm just going to move it around to see what's sort of like the prettiest part, I can find. I think it's maybe this one. And also I'm going to show you another trick. When I apply textures to sort of like round the objects, it can be fruits, and can be different bowls. What I'm going to do? I'm going to select. So if I take this tool and I choose wrap, and I'm just going to pull this corners in and this middle part out. So it creates this more rounded effect. See when you just wrap it like this. Gets a little bit more rounded. Particularly you can notice it when it comes to stripes or certain patterns. But yeah, I'm quite happy with this. And the blending mode I'm going to use is going to be hard light. In my opinion, it add this nice splash of orange color in the picture and brings up this texture effect. Next one, this middle fruit, and clipping mask. The texture I'm going to use is resin vase. I'm also going to reduce the size of this texture image as much as I can. I think I'll show you this rap effect on the stripes because on stripes, it's kind of more obvious, so I'm going to choose the rap option, and I'm going to bring in the corners of the inserted image closer to the center top center. And the bottom, as well, bottom parts. Yeah. You can see now so before the rap, after the rap. The blending mode I'm going to use on this fruit is color burn. It also brings a nice lighter orange color, which I quite like. It's a fruity color, maybe it's a melon. Or maybe it's an apple or an orange or something. And next, I'm going to fill this fruit with texture, creating a clipping mask. I'm going to add the texture called cost. And I'm going to reduce the size of it again. So the nice texture shows, and I'm going to round it because my fruit is round. So I'm going to bring the corners to the center and the middle size expand on the contrary and the bottom corners to the center to create this rounded defect. The blending mode I'm going to use is multiply because I want this fruit to be darker. 7. Applying Texture Part 2: Next objects, two objects, I'm going to fill with texture. A these two balls, one big ball on the table, and the other small ball on the top shelf. On a new layer, add this clipping mask, the texture I'm going to use is stone decay. Let's take a moment to appreciate the beauty of it. Look at this. It's gorgeous, isn't it? So I'm just going to try maybe and play around with the positioning of it. The scale of it. I quite like to leave this like decay f a bit on top and make it slightly smoother in the bottom. That's the big bowl on the table. And the blending mode, I'm going to change to color burn. But you see it's quite intense, like, really dark red, and that's why I'm going to reduce the opacity to around 57%. Maybe a little bit more like 53%. And the same texture. I'm going to add to this bowl, but I'm going to use different blending mode and different capacity. So what I'm going to do, I'm going to duplicate the layer on my bigger bowl, and I'm going to drag it across my picture to apply it to the smaller bowl. Because the bowl is quite small, small, I'm just going to reduce the size of my texture drastically. You can see this nice effect. At the moment, it's set to color burn. I don't like the color burn effect here. I'm going to turn it to change it to overlay, and I'm going to reduce I'll keep the capacity to 53%. Maybe I'll clean up the edge of my bowl a little bit, just a tiny bit here. And just reduce the size a little bit. Yeah, to fit nicely. Yeah, I'm quite happy with that. That's a perfect example for you to see how same texture looks absolutely, not absolutely, but gives you different effects when you use it on differently colored objects with different blending mode. That's the texture to our bowl applied. So next two objects we're going to fill is our tea cups. And again, I've just noticed that I left this little cup empty. So I'm just going to go to the same layer that I used for making saucer and coffee in this cup. And let's just add maybe milk. I'm going to grab this creamy color and just add added inside my cup. Maybe it's milk on the on the shelf or maybe sugar. Maybe somebody is preparing to bake. So what I'm going to do, I'm going to create a new layer. I'm going to add this clipping mask. And the texture I'm going to use on this cup is one of the textures I downloaded from splash that I showed you at the beginning, and it's called wall. And you see, like I I've chosen that texture because it gives this nice stoneware effect to our cup. So I'm just going to scale it down by reducing the size of it. Blending mode I'm going to use is the Exactly same texture I'm going to apply to my smaller cup. I'm going to duplicate this texture, the wall texture, and I'm going to drag it to my small orange cup on top of the shelf. And similar to what I did with this bowl, I'm going to reduce the size of it, maybe just rotate it ale bit. But instead of d mode, I'm going to I'm going to use linear burn mode. With just capacity reduced to 70. And now I'm going to apply the same texture to my leaves for that, I'm going to duplicate the one on the cup. I'm going to drag it across, and I'm going to unclip it and bring it clip it to my leaves layer this one. However, what I'm going to do. First of all, I'm going to change it to normal. You can see it applied a little bit not applied here, but that's not really that critical. Stretch it a little bit. What I'm going to do? I'm going to invert it same as we did with the picture here. I'm going to tap on it. I'm going to click invert. I quite like it already as it is. I can change the blending mode to screen. Yeah, I think that I'm going to change it to lighten because lighten mod keeps this dark, deep navy color while when we leave just inverted texture, it's pure black. So we're just going to leave it like this. Next texture, I'm going to apply. Next object, I'm going to texturize is this jog. I'm going to create a clipping mask. The texture I'm going to add is limestone again as the same texture we used on our back of the chair. I'm going to reduce the scale of it. You can always play around and see if you flip it, I think I quite like it like this. The blending mode it's going to be overlay, and I'm going to reduce the opacity to 42% to make this texture really subtle in comparison. So you see on the back of the chair, we left it like properly. Deep and dark. Here it's going to be more subtle. Next. It's going to be the s linen napkin on the table. Clipping mask of the new layer. And the texture we're going to apply. If you remember that I told you about the tabletop. We used finer linen here. Here we're going to use rougher linen. So I'm going to insert a file, and the picture, the texture I'm going to use is linen. So I'm going to d the linen texture on my napkin. And I'm going to try different blending mode. And the blending mode, I think that brings the best of the texture up as hard light. However, I'm going to reduce the opacity to maybe 53%, just to make it slightly subtler. Because you see, so we don't want the texture neither to clash nor to blend into each other. Despite the fact that we use the same texture here, different scale and different blending mode gives you different effects. And finally, I'm going to add the texture to my curtain. So I'm going to create a new layer clipping mask. And the texture I'm going to add as ave. I'm going to add the final wave that we've created in one of the previous lessons. Because I quite like it's like almost patchwork effect. And I'm going to see, like if I play around with a scale of it a little bit. Yeah, quite happy with that. And the blending mode I'm going to use is hard light. And I'm going to reduce the pacity to bring the blue color of my cotton up, so the pacity I'm going to set is around maybe 55%. Yeah. That's our natural textures are filled. In the next part, we're going to add a little bit of decorative texture to our objects. 8. Decorative Texture: As I said previously, we are almost done in terms of our texture overlaying. However, I feel like our illustration needs a little bit more sort of like a playful touch, a little bit more decorative details. So I would like to start with adding decorative textures to our objects. And first of all, I would like to work on this linen napkin. In one of the previous lessons in the texture preparation lesson, I've explained to you how how you can create your own hand drawn texture, and you can apply it on any object of your illustrations going forward. So What I'm going to do here. Working on the napkin. That's what I'm going to demonstrate to you. I'm going to create a new layer, and I think I'm going to keep it underneath the clip texture, so the layer is clipped to our napkin, and it's still underneath the texture applies overall. And the texture I'm going to drop is one of the decorative texture, as you can find in the resources, it's called daisies. Let's see. So I'm going to play around and see. So I'm quite happy with this. So now it's not just lending napkin lying on the table, but it's kind of like flower, hunt painted napkin. And I'm going to see if I can change blending mode to suited purpose. How When you just play with different blending modes, it gives you as always some lovely effect. It even changes the color of your decorative texture. Those like the colors initially like charcoal type color. But look how it changes luminosity makes it brown. Saturation makes it almost like blue. Divide makes it white and Hard mix makes it really, really new and red. I hurts my eyes to watch it, to look at it. I'm choosing vivid light because I like that this daisies, I'm going to reduce capacity maybe to 74%. I like that the daisies are matching the overall this tomy theme of our picture of our illustration, so I'm just going to keep it to vivid light. And what else I'm going to do. I'm going to grab. So if I go to sketching group of default procrate brushes, and I'm going to grab six B pencil, which is one of my favorite pencils to draw with. And the color I'm going to use is this second from the left on the very top row. And I'm going to create a clipping mask again on top of this dass layer. And I'm just going to draw literally like hand draw a few details. So that this little stripes. Maybe a little bit of dorts here. Just to make this napkin, this linen towel tiny bit more decorative. This little lines, more dots. Nothing to elaborate, nothing too specific. And let's maybe try and play with different blending mode. Yeah, I think I'll leave it at normal because it's kind of like matching the pattern a little bit better. So I'm just going to leave it like this. Um, Next, I would like to work on this jug. So in this in this case, I'm going to create a new layer on top of our limestone layer. I'm going to clip it as a mask. And what I'm going to do, the next decorative texture is going to be leaves. So what's important? Your decorative texture does not have to be always a pattern like pattern repeat. Nothing like that it can be just a picture that you create and you just drop on top. So I've just dropped my leaves on the jug, and I think I'm going to change the blending mode to line burn. Maybe reduce the pacity to around 67%. Yeah, quite like, I think it gives this jag this clay type effect. And I'm also going to create a new layer. Use it as clipping mask. And I'm going to use this dark brown color just to create with the six B pencil. I'm just going to create this little details on my jag. You can play around with the pencil size, just to create some nice details. I'm going to add this little dots, similar to what I added to the linen napkin and maybe some decorations here. Or I could get really carried away doing that because I immediately feel like already adding some flowers in between those leaves. But at the moment, that's not the point. I don't want to dwell on it too much. Let's see the blending mode if I can change it to something more interesting. I think I'm going to de linear light. Next, I'm going to work on this cup. I'm going to also create some. I'm not going to apply any texture. I'm just going to add a little bit of decoration on top of it. So I'm going to create a new layer as a clipping mask on top of my cups layer. And the color I'm going to use is probably something bluish. Maybe this lighter blue. No, I'm going to even unclip it a little bit because I just I feel like creating maybe this top round of it. Now I'm going to create a new one, clip it, and the color I'm going to use is like this grayish type of color. And I'm just going to create some playful designs. Very simple. Like sometimes you see on local potteries hand painted ceramics crockery. Follow your artistic flare experiment. So literally all I'm doing, I'm just drawing different lines. And maybe I'll just add a couple of flowers. It's very simple, nothing too sophisticated. Just like this. Let's see if some blending mode is going to do it more justice. Line Burn. Yes, some of them are quite nice, some of them are quite harsh. So I think I'm going to keep it to Lena Burn because it's kind of a little bit more in keeping with the rest of the theme. And while working on this cup, I thought I didn't like that super white insert of the ball, so I'm going to quickly change it. You know, guys, I didn't want to edit this lesson to perfection and to create the impression to provide the impression for you. Everything I do like, works immediately from the very start. I make mistakes. I change my mind all the time, and that's okay. That's normal. Don't be afraid to experiment because you see, like, looking at this insert, I can see that it's way too white. So I'm just going to change it to some Yeah. That's more organic, you see, like this. I changed it to this beige color insert of the vase. Just literally, instead of light the color, I just dropped the other color on. Next, I would like to decorate this cup now. So going back to my cups, maybe create a new layer, maybe even as a clipping mask. And the color I'm going to use is this almost darkest blue color. And I'm just going to increase the size of my brush and just create this sort of, like, decorative elements. Okay. Next, I'm going to this bowl. Again, I'm not going to apply any decorative texture to it. I'm just going to create a new layer as a clipping mask, and I'm just going to grab some lighter color, maybe this maybe this one like the third one from the right in the mile. And I'm just going to follow. Let's change the blending mode to I think something light. Well soft light. I think I'm going to change it to hard light and reduce capacity to 71%. And what else I would like to do see going back to my bowl, grabbing the color I used for it, using my monoline bruh from calligraphy. Basically the brush I used to create this bowl. I'm just going to add a little bit of the edge. Now I'm going to decorate this bowl, create a new layer clipping mask with sketching. Six B pencil. I'm going to use this page color, second one from the left and the bottom. I'm just going to create little lines, one a little bit smaller. Maybe little dots to keep the theme going. And I think I'm just going to add some kind of decoration in the bottom. And the same with the table bowl, I'm just going to grab green color monoline brush because I feel like a bit unfinished. I'm just going to add a bit. I'm going to e that part that goes on the spoon. Yeah. Yeah, quite happy with that. And finally, the final object I would like to decorate is this curtain. So we've already applied the finer weave texture to it. And now I would like to apply another decorative texture that I created especially for this class, it's called stars. So I'm going to go ahead and add it from the location I saved the town. Yeah, to be honest, while creating this texture, I was thinking maybe something floral would suit better here. But then I thought, why not? Pointy stars, this. They add a little bit of this quirkiness to the illustration. So I just decided to keep it. And maybe I'll just reduce the scale of a tiny bit. So you guys, you can use the one. I provide or maybe you create your own. I'm not going to dwell on. I'm not going to dwell on how to create the pattern, the seamless pattern and procreate. I'll do it probably in some other class. But you can use patterns that you can buy in different market places or you create your own. Let your imagination run wild. So I've just added this pattern that I created called Stars, and I'm going to check what blending mode I would like to use. And I think in my case, I'm going to use hard light, and I'm going to just tiny bit, reduce the opacity. There you go. It's done. And again, I feel like fixing something. I'm going to grab my mono line brush. I'm going to grab the color that I used for the curtain, which is this one. And I think I'm just going to extend my curtain a little bit further because it just looks a tiny bit. A tiny bit like abandoned. Let's see. Yeah, I think it creates a nice composition. And I'm just going to I'm going to go ahead and stretch. Stretch the texture a little bit. And the stars a little bit. Yeah. I think that's better. And we're all almost done. In the next part, I'm going to show you how to enhance some of the details using different color and blending modes. 9. Colour Enhancement: So as I said, I'm going to show you how to enhance a little bit of color in this picture. So what's important like disclaimer? I am already quite happy with the weight is because I like this cut out effect. I like this flatness of this illustration. If I'm definitely not going to create lights and shades to achieve volume to achieve realistic effect, nothing like that. I just thought that some of the objects, they deserve just a tiny bit more attention, tiny bit more definition, to make them just slightly stand out more on our illustration. Not all of them, but some. So first of all, I would like to add some enhancement, color enhancement to this tabletop. So I'm going to go to where my tabletop is and maybe underneath the texture, I'm going to create a new layer, which adds itself automatically as clipping mask. And I immediately going to change it to multiply. That this is what I technique I use most of the time. And I'm going to grab charcoal to be compressed brush. And the color I'm going to use is this darker gray blue in the corner. I'm going to increase the size of it, and I'm just going to reduce the opacity to around like 55%. And I'm going to just try and add a little bit of darker color here and there. Maybe even more opacity. So you see it adds this texture overlay. Car in the bottom up press a little bit harder to create slightly darker effect to balance the composition of them of my illustration. And I would like also to experiment with different colors, not just blue. But for example, I'll grab this orange bricky color and just add a bit more here and there. And I'm going to try, so I said that default by default is multiply, but it might benefit from using a different blending mode. So let's just try and play around different blending modes. You see color burn is way too dark. And I don't want the effect to be too overpowering. Look I quite like screen because it brings out the texture a little bit more. I think I'm going to leave it a screen and to darken certain areas, which was my initial purpose, I'm going to create a new layer as a clipping mask and again, multiply. But this time, I'm going to take six decompressed brush, and I'm going to use this dark blue color that I initially tried to use. I'm going to reduce pacity to maybe around 60% size. I'm just like, Oh, sig, it's quite intense. I'm going to reduce pacity even to 40%. And I'm just going to literally intensify the edge is tiny bit and a little bit in the middle where we've got the concentration of our objects. That's it. I'm happy with this. Yeah, I'm happy with this enhancement. Another object I would like to slightly enhance it looks a little bit flatter is the napkin. Again, just a tiny bit, nothing too drastic. Actually, in this particular case, I want it to be super subtle. I'm going to create a new layer on top of the colored object. I'm going to change to the blend to multiply. And I'm going to take to be compressed brush again because it's subtler. I'm going to use this yellowish page color, the fourth one from the right in the middle row, and I'm going to reduce the size, pacity probably around. Six, let's see how it's going to work. I'm just going to burn the edges. Just a tiny bit. Just a tiny bit. Nothing too drastic because I want to keep the subtlety of it. So I'll show you without without it and with it. Almost unnoticeable effect, however, it brings the illustration, it brings the object slightly up. Another part that seems a bit flat is this part. So it's something added to it. On our picture insert. I'm going back to my picture insert, and I'm going to add a clipping mask layer between this texture and the picture insert, and I'm going to keep it on normal mode. Let's see what I can actually do here. I think I'm going to keep using to be compressed. And the color I'm going to try and use is something very subtle as well. I think this Biji color, somewhere in the middle of the top row. I'm going to increase the size, and I'm just going to try Yeah. I think this is going to work best. Just add a little bit here and there. And let's see what blending mode we can use to give it a little bit more interest. See, like multiply, look how it gives this effect of some older older paper. Just even add a little bit. Maybe I'll just grab this orange brick. Add a bit here and there. I'm going to reduce the opacity of this layer because I think it comes up to intense to around 60%. Yeah. I like that. Last object I would like to work on is this jog. Because it comes up a little bit flat. I'm going to add a new layer on top of the texture layer. I'm going to change the mood to multiply because I'm almost 100% certain that I'm going to emphasize darker areas. The brush I'm going to use is welo charcoal. And I'm just going to burn the edges. Tiny bit. See separate the jag handle from its body. Here and there. K Yeah. I think that's pretty much it. And yes, I think I'm going to stop right here in terms of color enhancement because I most definitely want to keep my illustration flat. And I don't want to turn it into something where I try to achieve realistic effect and volume. No, no, nothing like that. So I'm just going to keep it like this. And guys, I would say the illustration is ready. In the next lesson, which is a bonus lesson, I'm going to show you the paper cut effect that sometimes use on my illustrations to give the collage feel to your illustration. See you in the next lesson. 10. BONUS: Paper Cut Effect: I'm going to show you now guys the paper cut effect that in this bulls lesson that I use sometimes in my illustrations. So we finished working on our illustration. It's nice, it's textured, it's enhanced. We are happy with it. What I suggest I should do, I always do because I'm going to start flattening my object. I'm going to select my final illustration, and I'm going to duplicate it. So the sort of like all the changes, if we're going to go back and make changes, they are all backed up in our original one. But this one paper cut effect, I need to flatten it because I will just get lost in all the layers. It's going to be too hard for me to figure out what's going on where. So I'm going to start flattening my layers. Whenever it's possible, because sometimes with different blending mode, you can to preserve the effect, you can't flatten them. Okay, too much information. Let's move on. So first object I'm going to flatten is my picture. So I'm going to select all the layers belonging to this picture, which is frame, tree bark, a picture of the duck, color enhancement, and the paper texture of the duck. I'm going to group this layer, and I'm going to flatten it. So it flattened perfectly fine. If you are really meticulous with your work, if you like to categorize, if you like keeping everything neat and tidy and in order, you can rename each layer, like, for example, this one will be picture. Next is the chair. I'm going to group it. I'm going to flatten it. It's literally the object with the texture on top. We didn't do any any color enhancement. Next one will be my table. That can create someone unusually fix let's try and flatten it. No. It worked fine. I can rename it. Again, table. And so on. I'm not going to rename every single layer, especially I don't usually do that. So I'm going to flatten. All my objects. I think the fruits they will go in the same group, flatten, teacups, flatten, leaves, flatten Jag flatten. Curtain. Flatten. So basically, so now all our objects are flatten, I can even feel better that we've got all this and reduced to only few layers. I can unlock the sketch layer, deleted. We don't need it anymore definitely not on this one. And what I'm going to do. So if you think of paper if you think that you've got a paper canvas and you cut out paper objects with scissors, and you stick them on the paper. You can still see in most cases, that they're stuck that they are, like separate from the collage. Which means that they cast a little bit of shadow on your canvas. That's how you see that they're slightly offset, they're slightly raised from the paper. That's how how this effect is created of collage, as opposed to the illustration, which you draw all on the same flat layer. And that's precisely what we're going to do in this class in this bonus lesson. I'm going to create a little bit of a shadow for each flattened object. So first one I'm going to do is this picture frame the whole picture. So what I'm gonna do? I'm going to show you the technique, how I use it. I'm sure there is more than one technique. I'm sure you might know something else. But I'm going to show you the one I use. I'm dragging it underneath the object layer that I want to cast shadow. Then staying on the object layer, I'm tapping it. I click select. What it does, it creates the selection of the shape of this object. Now I'm going on the empty layer and using a dark brown color. I'm going to drag and drop it. So if we switch the visibility of the top layer, we can see that we've got this dark object underneath. The next step is staying on this dark object. We need now to fluffy fy to make it shadow like. What I'm going to do? I'm going to go to adjustments, and I'm going to use gas and blur. I'm just going to drag my pencil, and you can see, see the more I drag it along the bigger shadow my shadow becomes. But I want it just a tiny bit slightly. Fluff and what I'm going to do, I'm going to grab the move tool, and I'm just going to play around and see how it's going to be. You can move it on one side. I, for example, if it's your paper collage and your source of light is here, obviously, your object will cast shadow on the opposite side of the source of light. However, what I use very often, I'm going to use the wrap function, which we've used previously to make the texture around. I'm just going to play around, just drag some corners out. So by the looks of it, I now see that I need it a little bit more intense, so I'm just going to duplicate it and you see the effect is a little bit more visible now. I want the effect to be subtle. You see, now it's added the shadow around my object. And I'm going to group it not to mix with other ones. Let's repeat the process with this back of the chair. New layer, staying on the chair object layer, tapping it. I'm choosing select. Now, going on the empty layer, I'm going to choose even darker color because I had to intensify this one before, and I'm just going to drop it. Let's check if it worked. It did. It created additional same shape object, but of darker color underneath. Going to the filter to the adjustments, goes and blur, and I'm just going to blur the shadow a little bit. I'm going to grab the select tool, and I'm going to drag the corners like this like so. Just to create this cut out effect. And if you feel that it's ale bit too intense, you can always reduce the opacity of the layer. And one more time, I'm going to show you and the rest I'm going to speed up. Creating a new layer, dragging it underneath the object. Staying on the object, it's the table. We're going to create shadow for select, B on the empty layer, darker color dropped, Tgal the visibility of the table to make sure that the layer is created, staying on the new layer mode, adjustments, Gs and blur, dragging the pencil along, taking the rap to, and playing around with the positioning. That set shadow created. See sometimes you don't even need to change the position of this shadow to play around with this shape. Its I see with this cup. I think it falls nicely as it is, creating this paper effect perfectly. M. That's it's done, guys. I obviously, I didn't create a shadow for each and every object. I didn't do it for the leaves, for example, because sometimes, if you've ever created a paper collage, sometimes most of the objects you do stick on the paper. But you also sometimes add some hand drawn elements. So I decided to leave and this fluffy pompoms as hand drawn elements. So. 11. Final Thoughts: D. What I would like to say is that I strongly encourage you to source your textures for your artworks in your own everyday life, in nature, in your own house, in your own garden, in your own car, in your own wardrobe, when you explore your clothes, because it's generally a good habit of observing things around you as an artist. And also, it's really good for slowing down. And observing and seeing the world around you. So instead of going to market places and different platforms and sourcing your textures there, make sure that you look around yourselves and see what you can use. I'm sure you can find plenty. Thanks a lot for doing this class. I hope you had fun. I'm really looking forward to seeing your projects. Please make sure you upload them in the project section of this class. All alternatively, just upload them on social media and don't forget to tag me on Instagram and Facebook. D.