Transcripts
1. Introduction: Imagine walking through a park and drawing everything that you've seen growing all around you. In this class, we draw exquisite plans with dynamic ink lines, layered under expressive flowers in an adjustable and colorful illustrated garden. In class, we explore different inking strategies. Starting with our first plant, the shepherds purse. Then the lines are pretty dramatic. Plants As we draw from observation, We keep our ink lines light and interesting at the same time. Then we experiment with quick color variations. We paint, Pink evening primrose, and create expressive colorful versions of these gentle flowers. Finally, we're bringing all our illustrations into a stylized and layered finished design by Vm rupees class, you will create your own version of your wildflower layered garden. I'd love for you to join me in this class, grab your pencils and let's get started.
2. Drawing With Inking Strategies In Mind: So let's look at all these photos that I took while walking in a nearby park. All my photos are off wildflowers that were growing in this beautiful park there, like right down by my feet. Sometimes we miss them because they're so small and delicate. But I just love them. They're so beautiful, and what I want us to work with today is with Shepherd's purse. This is actually a plant that you can eat apparently, and it has this beautiful mustard tastes. What I like about it is that it has its seed pods and they're kind of heart shape. And I think that if I create an ink illustration off this plant, I can later on added to all sorts off other illustrations to have more interest in texture to them. And I'm just very curious about the shapes, and I want to draw this. Since we're working on the iPads, we can choose any color that we want for ink. I think it just brings more of the artist in us when we work with color. If you're more comfortable drawing with black ink, it's fine because we can always re color or work and edit the colors and not just everything. And this is the wonderful flexibility that the I pitch allows us. And that's one of the reasons I really love working with it. So today we're going to use the studio pin. You confined it under inking. The reason we're working with it is because the studio pen is very smooth, So let's see what the brushes made off the shape of the pen. That's what comes off the tape of Ah, stylists is kind off faded out, so it gives you a rather soft line, but it the source, it has no brain. So there is no texture to this brush. And we want that when we're doing our ink work, because later on, we're gonna dual sorts off manipulations and coloring, and we'll need that known textured brush to do that. So pay attention. If you wanna work with another pin, at least for your outline, use a non texture brush. Now What I would like us to do is to check a few ways off working with our kin before we dive right into our first droning. First off, let's talk about the quality off lines that we can produce with our stylists without scaling my brush up or down, I was able to create a sick line and the same line with the same process settings. And if I hardly pressed on the brush, it'll I'll get avarice in line. So I'm going to use this when we're inking, because when we're working, we can add all sorts of textures just by altering the pressure on the brush. This gives us just all these wonderful, wonderful lines, and I'm stressing this point because we want to see all these wonderful lines, the change in thickness and gives a lot of personality and interest to our work. So I would like you to be mindful when you draw to your stylist pressure. We can also scale down the brush to get the senior lines and scale it up to get the secret lines. So until you have enough practice to get just the right amount of pressure on your pen, you can use the scaling down or skilling up options to get the lines that you want to get. This is perfectly fine to, and when you feel that you're ready, let's begin and we're going to start drawing or first planned. We're going to insert this photo into our converse and work with a reference photo. So I'm gonna place the photo at the edge of my canvas. And from here I can reference it when I when I draw and I actually can place adjuster right way. What I like to do is clean up my converse a bit, so let's look at the structure. This plan has this a wavy line, and it's rather thick, and from it we have center lines that comes out and then we have the shape. So let's start with a few strategies to draw that We can, of course, create press and create a sick line and then do these thin lines that come out of it and then create the shape. But I think this will be missing the whole point off this class. So I actually want us to draw lines that are pleasing to the eye and interesting. And let me show you what I what I mean, so our center line can look something like this. I don't want to see edges sticking out. They are not pretty, but I do want to see some outline and then some in lines that together build this whole structure. And I think that you can see right away the difference between this line in this line, which is kind of more graphic and simplistic. Now let's talk about strategies for drawing the little pods. So at the top I have smaller ones and coming out of the signs, they're different ones, and they're kind of protruding in different angles. Some of them are like that in summer like that. Now, when we come into the shapes, they're kind of straight lines, and then they curve, so they're not exactly hard shape, but they do resemble hard shape. So maybe I want to press on my brush when I'm coming to the end of the lines. Some shapes are going to be smaller, and some of them are going to be larger. I can leave. My plant is, or I can add some texture to thes little polls. So let's let's check few strategies to do that One way off. Adding texture is just adding some lines. Another way could be adding a little dots another way for our think texture, who be maybe creating the shadows by nodding these lines and I already have something pretty to work here. My choice is to just work with the plant. I think this plant is very, very interesting as it is. I don't really want to add more, you know, pretty little lines to it. So I think what I personally am interested, interested in in this plant is the shape. And I think the center line is interesting enough. So personally, I just want to live it at that and keep on drawing the olders beautiful little seedpods that come out of it. So basically, when we drove, we kind of set up guidelines for ourself like I are right now. I just made my rules. My rules are from the explained is that I'm not playing with pictures on the seaports. This is really how we do that. I kind of set my own rules for each blend. Like for this one. I want to be consistent. And this would be out of the rules that I set up for this plant. This plant is gonna have this fine line in the middle, so I want to make sure my mother hearing to my rules so it creates some kind of consistency when you draw and another rule that I set up for myself ISS to follow the reference picture and not just to go kind of mechanically. I am around my plant and are these heart shaped leaves? No, I really want to follow my reference for two because sometimes we can just start drawing mechanically and saying, OK, so I have this lines of coming out at the end there of these hard shapes. And before you know what, you have something that is inspired by a plan, but it doesn't really look like you've been drawing from nature. So be mindful of that when you draw. I'm gonna be very, very careful when I clean things up because I want to make sure that my work doesn't look choppy or two edited. It has to look fresh. That's great. 111 last leave. This is what my final work would look like. So I have one plants and then I drew another one and they kind of interact with each other . The last thing that I like to show you is how to change the colors off your, uh, pen lines. If you would say you were starting work toe work with black ink and you want to edit the colors and change them to this nice blue. Let me show you how you do that. So the easiest way to work with color changing is just to add a new layer and fill it up with the new color. Let's say that I want to change these lines to green, so I'm gonna big green and then I'm gonna feel this layer with color. Then we're gonna set the clipping. Mosque and color are lines so over blue lines. And when the new color layer is own, it fills it up with color. And this is a great way to add color because you can always change your color layer. I can fit it up with pink, or I can fill it up with Okay, darker Connor, and it changes my inclines. So I have a lot of freedom as I work to pick the line color that I want. And when I choose the color that I like, I can merge down my layers by merging down the clipping mosque with my line layer, all right, and with that, we can move on to our next plant and learn some more fun techniques as we go
3. Fine Arts Line Drawing: for my next plant. I'm going to work with a split screen, and what I'm gonna do is slide up and pull the photo are until my screen splits into 1/2 his procreate and the other half is my photo. And then I can scroll and find a picture of it. I would like to work with. Fuel Screen is too small. You may wanna import the photo onto your screen or simply work within our device for your reference photo. Next, I'm going to top with four fingers on my procreate screen to remove everything and give me a larger contest to work with. I can always go back and talk piffle fingers to bring all the little menus on board. I'm very interested in the shape off this tor now dangle line head I. I would like to show how the seats are connecting to the plants and textures, and this is what I'm trying to express in my illustration, and once again I'm working with a studio pin and it's my ankles purple about. I can always change it afterwards, and we're going to do this at the very end. So once again, when I draw I'm asking myself what kind of visual language I'm creating here, so I do want to show some texture. And so for the based off the seeds, I draw on drawing lines. But for the plant itself, I create adults to represent the sports where the seeds were previously connected to the point. Yes, I draw. I look at the shapes in the down the line. I'm trying to express the shape off the little fluffs off the seed heads, but also the rough part, the hard part that is connecting to the plant and the way I'm choosing to do that is to create lines that are thicker at the base and getting near aware until they're kind of very thin at the very end. And it creates that softness. I think when we try to express this soft shape with one color inclines another element that I'm adding our leaves and there are these very things lives that are connecting the flower head to the stand, and I think they add interest in kind of movement, and I don't break the monotony in shape off the seeds. I can bring my reference photo up close to make sure I notice all the details and represent them in my drawing and, for instance, at the lower part off the seed, their views slough heads that are kind of more close. They didn't open up yet, and I'm like, Oh, that's really interesting There gonad variations to the shapes that I'm over the drawing, and I think it's really fun to get them into my inclines as well. Now let's know to another part of the plans that is completely different. This is a flower that is getting dry and has not developed yet into the big, fluffy head, and I'm actually combining two photos into one illustration. I think this flower head is very interesting and it's done. I had a lot of character to my illustration, so I'm really taking the time to get ALS the details right. What I would like for you to pay attention to is that sometimes I will leave lines kind of incomplete, and that really brings in kind of like a shine or lightness into the line work, because when we're working with the ink, um, we sometimes want to show every single crease or a picture, but that might actually create a very dance and kind of blocked piece. So you want to make sure you're working lightly with your pen and you live some lines incomplete or open. For instance, at the very top off the flower where it's soft, I can use senior lines, so I'm not really pressing hard with a stylist. But I will also leave the illustration kind of open, and I won't show every little strand of fiber at the end of the flower heads. I'm going to finish up with drawing the stand and making sure that I draw lines for the texture to give it a sense off on structure in some shading. And when you do that, be mindful not to block and completely color. You're stands with too much ink. It's a fine balance to keep between getting the details right and adding too much of them into your income illustration. I have two more flower heads that's I would like to draw, and I'm going to speed things up for bids, and what I'm trying to do is draw them very kind of fluffy and soft, but show the details and I like that they have this in star shaped at the very edge off each seed stem, and the way I chose to represent it is by creating these stars or lines that come out off a one spot and they become a thinner at the very end. Something that I'm asking myself, as I draw is how do I finish this head of seats? Because it's so soft on the outside. So my choice is to create these open lines that kind of show. The seats that are at the back and the seats other of the front have the stem that connects them to the center. So this create kind of, ah, softer shape, and that's my artistic choice. The last thing that I would like to draw are the seed has that are left without the seeds and kind of dramatic interesting. So our Deidre one off camera. But let's do the other one to giver. I like about them how the little leaves they have these little time leaves there are like a hair falling down from the head, and the head is kind off looking up at the sky. Avoidable seeds. They kind of look lonely in my opinion, and it's funny. It's kind of emotional connection to my subject to draw the leaves actually had to pull photo of down the lines from Google because I just didn't have one that is sharp enough on , um showed all the details. And so the leaves oven underlines kind off, curve down, and they have this very pointy and and they also have these jagged lines as if the leaves are torn. And this is what I'm trying to represent with my inclines. I'm really trying to stay connected to the shape and not just make one on my own. So I'm drawing from observation, and it might take several trials until I get it just right. Since I'm not working on paper, I can take advantage of the digital form, and I'm actually working with layers. So I have different layers for my top, our hands and the one at the front that has this detached safe from it. And I created 1/3 layer to draw my leaves on. And so if, for instance, I want to edit part off my illustration, keeping separate layers for each major element is very helpful. And so, although I drew a leaf on the left side, off the planned. I feel that my composition will be more balanced if I'll flip it and move it to the right side, and I can change the angle until it fits just nicely. With the the leaf at the bottom and the flower above it, I'm gonna finish up and do just final adjustments. Maybe you raise a little bit, and basically this is it. My ink illustration is done and ready. And so what I would like to do next is on volume to my illustration and create some manipulation that would give it an extra character.
4. Experimenting with Colors: let's start our coloring work by duplicating the line layers so that will have several options toe work with. And we can always go back to our original lines. So I'm calling that layer save lines. So I know that this one I'm not touching. And then I keep duplicating the arbor line layers so that I'll be able to work with them. Next, we're gonna pinch all our layers together to flat in our group into one layer of lines, and then we're ready to start playing with colors. If we place our pencil or finger on the color swatch at the very top right corner off the screen and drag it into close shape, it will feel that shape with color and in the same way we can fill the entire canvas with color. I would like to use this technique to color sections off my illustrations. So what I'm doing here is grabbing a color swatch and drugging and dropping it into a shape on my converse, and that fills it up with color. This is a very precise method of coloring, and it's also very quick and fun. It enables you to experiment with colors and find the ones that work best for you for this illustration. I'm filling up with collar some sections off the illustration and others. I'm living just a line work without color. It enables the illustration to stake on airy and fresh, and I'm aiming towards this kind off design graphic. Look, I'm trying to see blocks off Connor that work well with my line work, and basically, I want them to complement each other and work well together. Sometimes. While doing that, you'll make a mistake and hit a line, and that will change the line colors. If you want, you can keep them or just tap on your Congress with two fingers and go back and undo what you did. Another way to color the incline illustration is to create a layer for coloring, and that's would be placed right underneath our line layer. Now you can be precise when you color like your coloring within the line. But I'm making this artistic choice to kind of Miss Color, as if my work was print IDs in a misplaced way so that the colored areas are going slightly beyond my lines and they're not really exact. It's also a good way of making color corrections. So I'll choose some areas to fill with colors and others to just leave with line work. And so the fun thing about this technique is that we can choose to fill up the shapes, but we can also color some of the lines and you can experiment. As you can see, I may wanna feel some parts off the flour and leave others just with a basic line color. And it creates an interesting variation with the line colors that works well with the areas that are blocked in. All right, then. Lastly, I want to show you a nice trick. I'm picking up one off the line layer duplication that I saved, and I'm gonna place it underneath old my work so far, I'm going to hit the arrow to transform the layer, and I'm gonna push it aside and slightly down so that it's not overlapping with the layer above it, but kind of picking from the sign. Next, we're going to go ahead and change its colors. So we're going to choose the adjustment tools and hit you saturation brightness, and I'm gonna play with their brightness until I get a very light color. And in this way I've created a misprint effect for my original incline illustration. If we want, we can go back to the transform to and make very, very gentle adjustments. If you talk on the compass just next to the dotted lines, you'll get the shape to move one pixel at the time in the direction that you're tapping. And this is what my finished illustration looks like. Next, we're gonna draw evening primrose, which are beautiful flowers and regarding a color than in big blocks of collars.
5. Expressive Flowers In Three Colors: for this illustration. I want to go back to all the photos that I took while walking in the park. I have quite a lot to choose from, but I'm looking for a big and expressive flower toe work with will keep on working with these flowers in my next illustration, class says. But for now, I'm going to pick the pink evening primrose, such a beautiful and gentle flower. It's pretty big for a wild flower, and it has lots of interesting details that we can work with. I'm going to import the flower picture into my compass and select only the flour and remove the rest because it takes a lot off my compass space and it's kind of distracting. For now, I'll get a fresh new layer through a droll and work with my brush. Man, I want to draw this flower and I can set references with pencil, but I'm just going to start directly with my pen brush, So I'm gonna look at the direction off the lines on the flower and take it from there. So let's see. So I have this beautiful line right, and that's that's gonna be my reference. And from here. I know roughly where my pittle stars. Now, as I draw, I'm changing the pressure off my pencil so that I get interesting lines. Okay, Now I have this part, and the Bethel goes on like that kind of folds here. There is this line here. So when I'm working relatively to what I see, it helps me with listening all the elements in my illustration. So let's continue. This flower has 1234 petals. This one is kind of closer and folded. So let's see if I can do this. You can start with rough pencil line. Just a position. Everything that you control directly from what you see. Or you can just start with pencil lines on this little folds here. I want to show that to because I'm going toe work with these folds. Okay? I want to get this line as well details, because I have everything sitting Well, now. Mm. Let's try to represent these little guys. I forgot what you call them right now. Usually, I will do a Google search and fly the right terms. Uh, we're drawing, so we'll keep on going now. When I drove these lines, it really helps with understanding the shape on the direction off these petals kind of texture. And they're interesting. All right, so now that we have the lines for the flower, we have something to work with. And I would like to add another layer, and I'm gonna work with my or one of my brushes You can work with anywhere said you want, as long as it's not textured for this part. And what I'm gonna do is get the lines off. The what I'm gonna do is get the background for my flower. I don't really need to be very precise at this point. I just want to roughly get the shame I'll show you why I'm not really trying to trace my previous work. When we start working with this one now, I can drag and drop color into this, and I actually say it does bother me. Okay. And okay. No move on. I don't need this on a drug this underneath. This is basic calorie. We're going to make this more interesting and work with it. So first of all, I'm going to duplicate my line along. Let's give it a name. Gonna call this one line lines. And I want to duplicate my lines because I'm going to do all sorts of things with those and I'm gonna check one layer. Come on. I don't want to see it. I'm gonna check this one. And let's work with what we have here. I'm keeping my photos reference, but what I want to show you is first way off working with color here, I'm gonna add a new layer. And I want Teoh start being shading. So I'm picking slightly darker. Connor, that's check What's going on here? So I want to add some shading there is treating here a swell. I can go beyond the boundaries off my backgrounds layer because what I'm gonna do now is check up clicking mosque for my coloring. And that enables me to you know, we're quickly without worrying that I'm coloring beyond my boundaries. This one, I want to be a bit more precise because this one does not use the quipping mosque. It's just really coloring the spittle. And I have a slight shadow here. Well, let's start really gently, okay? And may want to use this shadow as well. Well, let's try to create an interesting shame. See, since I'm working with clipping mask, I really don't mind going beyond my background. Blair and I can play here a little bit with the shadows as well. So I'm not following my lines exactly. But there is a shadow here, and I want to represent it. Also, I cannot some more to my line line work. Okay, let's go back to my in king brush sample. And if you're wondering, yes, I'm going to duplicate this as well. Okay, so I'm going to remove this one because I already changed my line work and just duplicated . So for this flower, what I want to do is remove my outer lines because this is gonna be one way off working with with this style. So for the first time, I'm going to remove all the outer lines. So I do want to keep the lines between the petals, but I don't want the outer lines. So since everything has its own layer, I keep my shadows, but I remove my outlines. So this gives me a lot of freedom toe work. My lines can even go beyond the flower and actually as interest. Okay. And lastly what I would like to do with this flower is are the texture layer, so for texture layers, you can pick any brush that you enjoy working with. It can be any pain fresh, and it really depends on the kind of texture that you want to add to your flowers. What I want to do is some interest and shading. So if a brush said my brush pretty high and I don't press too much, I get the kind of texture that I want. Well, that's one texture that I can on. Let's try another one. Okay, let's go over to painting and work with a dry brush, and I think it's an older brushing procreate. So if you have an older version, you'll have it. This one is beautiful. I think I like it better, gives you these dry lines, and lastly, I want to try another texture with the oil paint brush, and it's going to give me a more smooth take. Sure, and that's another option that you can try. And I feel that I can pick the kind of texture that I like for my flower. Okay, so this is the first flower, and now I am actually going to start building my frustration with what we've done so far. So let's start with the line work. Gonna remember the blind work that we did before. We can make it overlap a little bit, and now I want Teoh change the colors to change the color. I can work with my reconquering and don't worry about all the screen turning purple. It's just because there is a little X here. I want to make sure it's on my mark, and I'm going to duplicate this one as well. Flip it. I think it's slightly smaller because I want to create a variation. I'm gonna leave it there. You know, I'm going to work with this layer again because I want to show you some fun things that we can do. So let's say that I'm going to What? What happens if I drug and draw colors watching to this one? I can touch the lines, and I can change the color of some lines, or I can drop color into into the illustration as well. So let's play with it for a little bit, and the more color I dropped in. I get these changes because the color out stop. So, in this way I can keep changing my original on design and adding to it, I might want to live this transparent or fill it with color. So what happened if I simple this color and that dry drug it into this sponsor, I haven't filled with color, and Walt happens over here. Pretty sure I want to get rid of it. Get rid of these lines. Be creating icer shape. No, I can't drive and drop this kind of swatch over here. So this creates some kind of this graphic design, and it all started with one flower. And I really enjoy playing with these variations. Next, we're gonna finish this illustration with one more element and the stress effect.
6. Adding Style & Character: now to finish up my illustration, I want to add some more elements. So let's insert another photo. And I want to get this one in because I want Teoh get inspired by the branches and the stems off this flower. So let's place this at the very very bank. Let's get everything in order. Um, first of all, I'm going to group my layers. This flower is one layer of this one is an irregular, but this flower has one, 23456 layers, actually, four. Because some of them I'm not actually using my final element is gonna be branches and leaves, and I will place them in between and underneath my flowers, and what I'm gonna do now is very quickly get the shapes right, and I can always texture to my work, and I'll show you how we do that later. But for now, I am more interested in, uh, getting those little guys rights. - So for this illustration, I scaled up my brush, so I get kind of thick lines because I want my branch to look very loose and flowing. And this is another way of drawing plans you can use precise inclined. But you can also use very loose loans just to add more interest in texture to your work and let Iran we're gonna layer all our elements together. And this brand she's gonna add interest, will are complete illustration. Yes, if I want to add texture to these leads going to swipe right to Al follow Graham and I'm going to go over and pick my texture brush. So I'm bringing a very dead, gentle texture and I'm using the same brush that I picked for my flower because it kind off helps tie in the whole piece, and it helps with giving my leaves nice and warm touch. So I want you to play a little bit with textures and see how far you can take it and which one works for you and get the one that's it's working nicely to stay, and I can also add some more depth and shading when I pick a darker color. So I would like the base of my plant to be slightly darker. Last thing that I want to show you is how to on some distress to this whole piece. So we're gonna add a new layer and pick a noise brush. So what I'm doing is I'm working on a new layer. But I'm working with my background color, this noise brush. I'm just putting a little bit off blemishes to my illustration, and it kind of seems like they were misprinted and kind of like in color. And it helps all the elements blend with the page. And I really like this effect as it makes all these colors and lines a little bit less perfect. No, I don't want my brush to be the same all over because it will show distress as very, very uniform. So what I'm doing, I'm playing with a scale off the brush. And sometimes I'm I think noise. We have a small brush, and sometimes I'm scaling it to get the noise specs larger. So there will be some variations in the distress layer. And with it, I'm finishing up my illustration off. Think Evening, primrose. The next thing that we're gonna do is bring all the elements together into a layered wildflowers garden. But before, let's take a look at the complete illustration that we just finished
7. Finalizing and Creating The Project: we're now ready to create our project, assemble every seeing and create the lovely design from all the beautiful flowers that we drew. So what I've done is duplicate my evening primrose illustration, and I'm gonna base my project on that. Let's take a quick look at my layers. In addition to the flowers that I have drawn, I've already imported to the canvas, some off my previous illustrations. And what I like to do next is show you how to bring another element in. I'm gonna back to my dandelions illustration and copy and paste the layer from that illustration into my new canvas. And this is how we're going to start our project. We're gonna import all the elements into one converse, and we're gonna take it from here. We're going to implement all the techniques that we learned so far about recovering and adjusting or illustration to create our final project. But let's start with changing the background color. I'm going to start with a nice purple for mine background layer. Next, I wanna pick all my flowers and realigned them According to my new compass. Since this one is in portrait mode, I want to rotate all my flowers in the right direction, going to place them roughly where I want to start. And then I'll be readjusting each flower individually. So the main element in my final design is gonna be There's big, expressive flowers. They're gonna take front stage folk whose off this whole design, because they're so bright, colorful and big, everything else is going to go behind and kind of compliment this big flowers. So when I'm bringing all the elements together, I may want to make some adjustments. I can fill up spaces that are too detailed to work together with the other elements in my illustration, and I want to start picking up the main colors for my final design. I picked up two nice yellows for two of my flowers. So I'm gonna recall er then Then I want to pay attention to how these flowers meat. So there are some details showing underneath my big yellow flowers that I want to clean up in tidy. That might require going back to some off my flowers and readjusting them so that everything will work well together. I'm going to put my lying flowers at the background, and they're gonna texture to the whole illustration, starting off by duplicating my purple line flower in repositioning the new flowers so that my composition will be balanced and, by balance timing that I would play some elements at one side and then mirror them on the other side of my design. But will slides differences so everything will not look as a fi Putin mirror writing the center and created an exact duplicate. Once again, I want to pay attention to the area years where my difference elements are meeting up. To do that, we want to zooming and really trickle details. Let's bring another limit to the kind of us. I feel that my branches really anchor down the composition, so I want to position them kind of underneath most of the flowers. But if they cover some, it creates more interest in the design, and I'll create the duplication and maybe flip it sideways so that I'll have branches speaking from underneath my flowers at the top of that, the bottom as well. Next, let's bring in more elements. I have flowers that I drew before, and you can create more line work. Teoh two, your final composition. These are pink evening primrose in a profile to make sure that my composition is well balanced on creates two slightly different versions off the same flower, one for the right side and one for the left side off my canvas. Next, I want to bring in my shepherd's bursts illustration, and I'm gonna place them at the very, very back off my layers. I want to check if I could maybe change their colors and they will fit in better. I'll try different versions of brightness and use until I find the one that works best with the rest of the elements on my kind of us. If you want to zoom in on your kind of us while France forming an element, press with one finger on the blue arrow and then paint your compass bigger. And that way you can zoom in while still transforming an element without making any changes to the element itself. Finally, I want to bring my done 1,000,000,000 lines in. I may want to make sure it's covered slightly by other elements in the design so that it will fit in nicely, gonna hit, transform and readjust it so that it will the line work will work nicely with all my beautiful flowers. Now I might have elements that I want to delete this stage because they just don't work well. We don't really need to have everything that redrew show up in our last project. This is what my final project looks like. Butts. Let's check out other coloring options. We have so many beautiful elements to work with, so let's try to create some variations on our project. I'm going to duplicate it and play with the colors first. Let's take a look at what happens when we changed just the background color. I may want to re adjust some of my elements color so that everything will work well with my new become Connor. So my big orange flower will have to change into think, and my line flowers are now almost lending in with my background. So I want to help them pop outs and can collapse all these line work together into one layer, and that makes it easier for me to make adjustments to the colors. And in this case, I think a darker color makes these flowers really pop up in my new counter Athene. I feel that I need to add one extra element to balance the composition because the white down the line lines air kind of fading out into the background. So I feel that if I add another element, it will help and throw them in. I can complete the illustration with a duplication off this line work I just faced it in and you layer first, let's change the color using clipping most. Then I want to pick just the element that I want to leave on my converse and hi the rinsed . Using the selection toe in a free hand. I'm going to throw around the one moment that I want to keep Captain Pace to separate it from the other laments. Quick cleanup and my seconds color version is ready. I continue to play with colors, so here are a few final projects that I've already created. Well, Chow. I try to make sure that all the colors work well together by readjusting and editing the colors of the different elements and my final projects. Now let's create a final option, and we're going to simplify this composition a little bit and create a new, simply fight project with fewer elements. This one is gonna have a light green background, and I may want to keep just two big flowers at the very, very front. I'm going to readdress and reposition my basic elements and then have to them and make some transitions and adjustments. Let's see how this new compositions gonna work with my shepherd's purse lines in blank. I think it's nice and cleaner that way. I want to make sure that my black line work works nicely with a very bright slee colored flower at the very front. Again, we wanna make sure we re adjust every element so that it works well with all the other elements. Next, I want to change my color scheme for this new project. I'm going to re color my flowers, and I need to make some adjustments because I'm left out with orange. That doesn't really work with my new color thing. So what I'm gonna do to resolve this is just color on top off the orange sections and maybe delete some. And after that's I'm choosing to draw in new line work for this flower, and you know, it's really fun to go back to drawing at this point because I've been doing a lot of designing and repositioning things, So drawing in some new details is is really found. At this point. - I want to bring more flowers in and notice how this composition is more centered. It's less kind off, sprawling and spreading to the side. Some were gonna bring into colorists and place them with the very centre pretty much the same way as I did with my down the line lines. Next, I want to make some color adjustments, and it really helps when you have this two elements that are basically the same only variation of the same element when you have among one single layer. Finally, I want to bring in my purple branches, position them in two opposite sides of my composition to make everything bounced out. Now I want you to pay attention that to the fact that I'm actually pinching and scaling up my element, I want to show you, um, different composition options here. But if you really want to bring in a larger element into your converse, don't scale up an element that is over the small because you will lose resolution and in procreate, I would advise you to just imported back into your converse, import the original one and work with that and always always scaled down. Don't scale up. All right. So I'm placing my purple branches and to make them fit in the complete composition. No, I may want to select your support shin of this illustration and find a new place for it on my canvas so I can just cut and paste it on a new layer and take it from there. And that's very similar to what we did with a yellow down the line flower that we added. Last thing that I want to do is readjust the colors. I want to make sure all these branches are in the same layer. So I'm gonna flatten other group or pinch them together into one layer and readjust the colors so that they will work better with my background and my pink flower in my yellow flower. I'm going to play with the use. I think of blue branches work better here, and this is what my final project looks like In this project. I not only change my colors are also changed the composition off my elements. Now let's take a closer look and some of my final projects. I hope youll get inspired to create your own various projects and share them with the rest of the class. I'm really looking forward to seeing what you created.
8. Final Thoughts: Congratulations on completing the class. We started with learning the fundamentals of ink drawings, captured the essence of wild flowers from photos, To the digital canvas, and explored fun coloring techniques. I hope that you are now more confident in your ability to illustrate with bold colors on the iPad, please share your sketches and final project to the project's Gallery on the class page. So we can all take a look. I'm looking forward to seeing what you create. Thanks for joining me in this class. I hope that you'll get inspired to go and more nature walks! Explore the wildlife all around you. Please stay in touch. You can find me on Instagram and follow me here on skillshare. Thanks for joining me today and hope to see you again soon in my next illustration, bye for now.
Yifat Fishman, Artist & Illustrator
