Creating a Striking Fashion Illustration | Jessica Durrant | Skillshare

Creating a Striking Fashion Illustration

Jessica Durrant, Empowering Your Creativity

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8 Lessons (52m)
    • 1. INTRO TO ME :) And my 1st Class!

      5:06
    • 2. LONG VIDEO for Art Nerds. My favorite supplies!

      14:57
    • 3. STEP 1: Sourcing Inspiration

      2:32
    • 4. STEP 2: Creating the portrait

      7:33
    • 5. STEP 3: Wet-on Wet Technique to block in large washes

      4:59
    • 6. STEP 4: Adding texture and layers to the painting

      8:39
    • 7. STEP 5: Finalizing the painting and using your instincts

      6:55
    • 8. STEP 6: Finishing your painting

      1:04
13 students are watching this class

About This Class

In this class, I show you my techniques & tricks for working in watercolor, gouache and pencil/pen to create an elegant, and striking fashion illustration. I will create a layered, elegant fashion illustration from start to finish. I also discuss techniques to help you let go a little, and be more open and free during the painting process. There are no mistakes in art! So let's get painting! 

For this lesson I am using:

140lb Coldpress Strathmore watercolor paper

Black india Ink, pencils, charcoal, blending stumps. Acryla Gouaches, and Golden acrylics paints. 

Transcripts

1. INTRO TO ME :) And my 1st Class!: Hi. I'm just gonna rant. And thanks for joining me. My very first ever skill shark class. This is taking a bit of courage for me to actually put together a class like this. So I'm very grateful and happy to have you here. And I hope that you can learn something this first class. I'm gonna really kind of hammer into you some of the things that I think will be most beneficial for you and for your creativity. One day you need to stop big. So, Dane, critical of yourself and everything you make Sorry if I sound a little boxy two you need Teoh. Allow yourself room to be creative, to have fun, to make mistakes. Sometimes those six as we know it return into things that will lead us down a path he already has. The things that you haven't thought about before. Um, yeah. So I'm really excited to be here if you don't already follow me on Instagram because I feel like most people that are gonna be setting up for this class are probably instagram followers. But it's your a local. I'm just a dram. I said that's beginning, but I'm an illustrator. and I specialized in fashion, fashion and beauty and lifestyle illustration, and I've been doing it for about 67 years full time, and I absolutely love it. And I think one of the keys to success has always been to focus on making work that allows me to be inspired by my own life and allows me to get through things in life because, really, what? Ultimately, if you do want to be an illustrator or artist of some kind, it's really about creating your own body of work. That is true to yourself into what you love, what you're going through, and sometimes our will be pretty, and sometimes it won't. But it's really about allowing the work to you like a personal diary, but it doesn't always have to be literal. And, um, it's a lot of times with art. Our subconscious will come through and we will make beautiful things, because you, too, and so I'm here to encourage you to take the time for yourself and be creative, and to give you some of my personal tips and techniques of how I try to go about, uh, when I started painting session, what do how do I approach? How am I taking references and maybe things that I have found a piece of it? And I want to teach you about layering. I want to teach you about mixing mediums because really, I think it's so important to kind of. The more that you work, the more kind of get it more and more refined. It's to your own, and I beings that kind of creating your own custom to work as far as you're grabbing sink, wash your been some acrylic. Maybe you're grab pastel or watercolor and you know you're using different services where you know, you started painting and had an idea, and by the time evolves it it turns into something else. So I kind of want to focus on allowing yourself to be free and to be creative, to be curious, to be inspired and to know that there are no rules. And what is the worst that can happen? You just that stuff a piece of paper, like just throw it away and start over And maybe, you know, start project with the idea that takes 30 pieces of paper for you to get to that one. That's beautiful work. Everything kind of clicks into place. Never look at one piece of art that you started was too precious, you know, be willing to let make it ugly or, you know, be like that one such Oh, let's keep going. I think the thing for me this year is that so important to just keep going And some, uh, I mean, nothing feels worse. You're trying so hard to feel so inspired running to be creative. You're sitting down, made time, you've got all your supplies, you're working and it's just not coming through. I would say it's because just going and know that you're gonna make something incredible if you keep going. So thank you for signing up and let's go ahead, get right in and get creative. 2. LONG VIDEO for Art Nerds. My favorite supplies!: Okay, so I'm gonna go over really quickly. Some of my favourite papers paints brushes just to give you kind of feel like what I recommend, especially if you're starting out. You, um, are kind of afraid. You know, we're intimate about what you should use Our first up paper. I would never say Start off using expensive paper. I only use really expensive paper like arches or fabromano when I'm doing, like, a special commission. Or I'm doing something that has, like, an illustration where there's a bigger budget involved for a client or if I'm just doing it for personal work that I want really, really high quality, a fact that I could get with it. Otherwise, every day I use this wonderful paper from Strathmore. I get it in 100 and £40. It has a really thick consistency where you can usually put a lot of water on it without buckling too much. It's cold press. There are two different types of watercolor paper, and what I say watercolor. You can use four Lexington. You squash, you could build up a lot of pain. Doesn't have to be water color. That's something that I've always kind of Why do I have to use certain things on certain types of paper? Maybe that's just me. Anyways. I use acrylics and washes on watercolor paper you could get you could really load up. Put a lot on this paper's out of buckling. It's not expensive. The tear off sheets make it really easy to just pull one off and start something new. It is cold press, so that means it has a bit more texture to it and tooth to the paper. If you prefer something more smooth than you probably would like cop press. So it's really just a personal choice. I love cold press every time I do hot press. I'm like all. It's too smooth. It's too perfect. That's me. I you know you've got to figure out what works for you. If you hear a little click, click in the back room. It's my dog. She when I talk out loud to a computer, she thinks that I'm talking toe like somebody that's in the room. So shakes, um that there's a visitor and she wants to hang off them. All right, so I also think it's fun. They have little things around you that are just really honestly, this is my studio space, and I just love having things around me that inspire me like this cute little our pouch painting behind me is one of my closest friends. Michelle Armrests. She does abstract I love looking at the way that she uses color and brushwork, have a little inspiration board with some of my favorite designers, different forgeries and things. So I think it's good to just kind of surround yourself. There are things that can maybe if you're stuck in a right, a lot of times you just like, look up. Oh, I should do this or oh, I like that color that mustard color Reuse it before inside here. Have some wonderful past sales I used to use past us all the time. In college, I bought some of Rembrandt ones. I have oil and I have soft pastels. I have some brunch ones, so sending their I don't pronounce French links. I just have a whole bunch of colors. It's very messy. It's wonderful days out and near them on top. If you are in acrylic person or you don't mind like the trick about Alexis, you can water them down and use them like watercolors. Acrylics are mostly transparent, which watercolors are transparent, so you can also apply them really thick and in pasta like which impossible means just going on there using paint like icing. We think the Impressionists, they did a lot of positive work. Golden is a great one, but really, like you can really start off with the less expensive, more student graded crooks and get a pretty good quality. I think it's good to kind of pace yourself for you kind of spend a lot of money so that you can kind of get to know the different mediums and then go from there. But this Golden Media makes the best gold color ever, and you can mix it with different colors to kind of make like this is really beautiful. Mixed with a little pink makes amazing grows cold. It's here, doesn't go deep. So when you see me paint gold or you see something that looks metallic, this is the thing that I use. And sorry if you hear notification sounds. I have been trying to figure out how to turn those off. It's not working. Okay, Um, we don't use India weeks or when I use wet on wet water colors that cake that you see me doing it? Um, it's usually with Dr Bomb. Is this color no so beautiful. But it's basically, like, you know, no job and the thing about watercolors and thanks, um, you can get so much from so little. So I think that it's not that expensive medium like this little bottle will give you so much pigment in so much payoff, uh, without really kind of breaking the bank. So the thing that breaks the bank for me, it's now I've been working with washes, and I love these Japanese washes. They are should do like a makeup tutorial. You guys look also, I love makeup tutorials. Just so you know, um, so this is a Japanese brand. Okay, So the Japanese know a thing or two about art and the products, and the quality that they come out with is amazing. My sister in law is from Japan, and she has given me things that are like, I've never seen anything like them. She will get me like art supplies and markers and and things from you from Japan that are incredible. So and was, this is the wash it I use. I love it now if you don't understand, what washes wash is in o pe paint pigment, which means it has weight to that, which means that it's not transparent. So let's say you wanted Teoh like, you know, put the color down this paper. If you put it on this figure, No, put it down and you would see no transparency, no white from that paper shining through you get exactly the color that is in the tube on the paper with watercolor. It drives 30% later when you put it down. So that's why when you're working watercolors, it's gonna you're gonna put it down this car. Here's watercolor. You're gonna put it down. It will lift a little dry, and you always drive later. So there's kind of a surprise effect with watercolor that you're not gonna get with squash . So I have been combining all of these different things. The last year I've been working with gosh really thick. I've been using my path styles here I have been combined acrylics. I was trained classically in acrylics and oils and painting in watercolor was something that was curious about and I really was drawn to on I tried it and I just spoke to me. And I think I'm not a place where it's like I want to combine all the different things that I love. The different subject matters, the different mediums and just kind of think outside the box. And some other things that I love for getting prepared to pay to have successful is to do a day. Are candles? Yes, this is a expensive candle. Like, I only buy things like once every four months. And I like them the beginning of studio sessions or what? I'm doing pretty difficult. Illustration project. So I left. You have candles going? I am. I love to have good music playing, isn't this covers the war on drugs? You know, this is supposed to be really good for your creativity. So I always keep one. My desk, amethyst and my favorite brushes. Okay, I really think that you only need a few good brushes and they will last you a very long time. They've become basically to me, they felt like an extension of your hand. Um, and I really only use 2 to 3 brushes. Everything I do. I am a big fan off kind of angle, right? Rush? You could get them in. Different brands were basically it's a brush that has an angle, and you can get a really nice the way. Depending on how you use it, you can really get like, a straight line. You could use it more on inside and kind of give it more tapered effect. It has this long, elegant handle I usually hold mine about right here. Really? Panning to is about learning how to open up your wrist and not a piece of tightly controlled. You want to be, like, composed a beautiful painting. Um, this is from Princeton, and this is this is like my go to brush. If I only have one brush in the world to use Penis, the second brush would be my liner Bush, the liner brush I've been using since college. You can buy in any brand. This one is from Princeton. Once again, it has a very thin then tip on it. When you get it wet, it will really just give you to make it gives the all The West's gives me all the lashes. Those little fine marks that I make are all going to be with this fresh when I worked larger, and I need to cover a bigger body of area with color with water. When I'm doing the wedding technique, I usually use thicker wash brushes. And as you can see, there is a theme where I continue to use the ankle right brushes because they give me that angle. They give me that straight edge, but I can also, you know, use them and applying them so that they can give me all sorts of different movement. You know, this land is great. So these this is an ankle flat Washington, Princeton. And this is a angle break 10 Princeton. So these are my favorite brushes. I would say. Don't buy cheap brushes like you can get away with buying like inexpensive paper on inexpensive paints but rushes If your body were those packs that, like, has a bunch of brushes in it and you're using it, it's like not moving hairs. Air coming out. They are the worst. So I would say that owning, you know, even if this brush is like $30 okay, find a way to get a cue ball in by when it's on sale. If that's too much money. Otherwise you taken care brushes. Use warm, soapy water. Use like a brush cleaner. Get all the water out moving back into place. You can have a very long time and they will be lakes. You know what? I have people brush. I think it's like Harry Potter, except want, you know, I just feel and he's so it is about finding right rushes that work for you. Try difference like use Family should use round brushes like I've been paying since I was 14 and I don't know, 36. So I've had a lot of time to try the rushes and and I, you know, pain every day, and I know what works for me. So what works for me might not work for you, but I will say that most people do end up, enjoy enjoying using these brushes. But remember this kind of brush you're not gonna want to use over entire painting, you're going to want to use larger brushes too. So you wanna have a variety so that you can, you know, make your life easier If you need to cover a lot more paper. What? Use a bigger brush. You know when you're gonna do the details. You always want to get their rush so you can enjoy those little kind of great down what I like to use. And I hope that that will make you a little bit easier for you creating a shopping list saying like I have a budget. My budget is $50 for, you know, for me to go up by supplies by one really good brush, a pad of paper and maybe a couple of colors that speak to you. It's on me. 3. STEP 1: Sourcing Inspiration : go ahead and start. All right. So I think the bus place to start when you're going to create your own piece of art that is a faction illustration is to really kind of pull sources that really inspire you and make you want to paint that thing. So I really tend to kind of listen to those cues that tell me Oh, my gosh, I have to paint this and it just really excites me. It gets my adrenaline going, and I feel like that's the way you should always start a painting so it can take some time to source through things that you find that you love that you want to paint. So take a little time to yourself, maybe go to Barnes and Noble and pick up some magazines and go through them and see if anything really kind of stands out to you. This is from a recent Valentino ready to wear show, and I just absolutely loved the kind of collage looking gigantic flowers that kind of have an element of abstract to them that I love. And I love the sense of color. I love the kind of the texture here in the sheerness, and I think that this will lend itself really nicely to a beautiful fashion illustration that will kind of take on an air of elegance and almost kind of like an abstract piece of art mixed with fashion illustration. So to start, I'm using the £140 cold press Strathmore paper that I told you guys about. I sketched on this paper with a mechanical pencil that I love using. I also like to keep really close to my desk when I'm working. Blending system and Micron pens are my favorite for adding little details and little tiny fine lines. So I keep those because I usually layer on top of the water color with these. So we're going to start by. I'm gonna show you how I layer on the lightest shadows and build on top to create the face , and then we'll kind of go in from there and work on her hair, and that's where we're gonna get a bit more dramatic, the color and then eventually will move down and create, like this really fun contrast with the bodice versus the face because you want to have this beautiful kind of almost flow like an s here, which is really important in composition and design 4. STEP 2: Creating the portrait: So what I'm gonna do is load up my angle Bright brush that I told you guys about with just the softest basically diluted the black ink. But you saw earlier to almost like a light wash grade. And what I do is I end up going in with water colors and thanks. You always want to work light to dark, so if you're a worked with oils, you're gonna realize the complete opposite. So if you've never done watercolors, you'll it takes its a bit of a learning curve to kind of. I work in the opposite way, so I'm just kind of laying in thes soft shadows and folds in her eye. I can use the angle brush on the on the edge to create really sharp lines, feathery lines. It's always best to start lighting buildup versus starting to dark. If you use too much color, you can't really go back after that. And as I feel in the eyes here with just this gray wash, when I add more color on top for the what on let technique, which I'll do in just a second, you'll see that I will only go to where I place water. A lot of people like to use masking fluid. A lot of people ask if I use masking food. I usually don't Now my angle brushes. I have to work really quickly. This has just straight black pigment. If I touch it down, it will go where the water waas. And the trick here is to not over work it basically you kind of have to learn how to just basically softly manipulate the color to move or the black and touching at the least amount is most important part of it. Um, one of the things that I love and you've probably seen my work a lot is I love strong eyes . I always start with the eyebrows and the eyes for everything. Now you see that part of the color touched this color, That's what. And that's OK. It could be a mistake. But I'm just gonna turn that mistaken to you something that works for me. Feather it out and remember that watercolor and inks. They drive 30% later in what you initially put down, so it might start off pretty black. But it'll it'll drunk, dry, lighter than that. And that's why sometimes I'll go over these portions with pencil or charcoal or graphite and, um, build a bit more color on top. I love a strong I I love a cat. I So I'm not gonna touch that one anymore. Let the color could have lived off, and I'm gonna do the same thing with the other I This is from a and you can always block. So if you feel working quickly enough, you put down water where you don't want to. You can usually just stop it up quickly with a paper towel. Um, this is a reference that I've used a few times that I really love. And I wanted to use something that I've done before to make it easy to demonstrate. And once again, this is nice and wet right now, so that means it's the perfect time to do the wet on wet technique to get that color to move around. And I'm I'm just starting up the centre because I'm thinking that's where the pupil is. So I want that color to be pretty concentrated there. And, um, I might bring in a little bit more over here, so I think once you have the eyes in the pain in on the page. I can usually tell if opinions gonna go in the way that I wanted Teoh. When I always have to start with the face because if that doesn't look right and nothing else in the painting is going great once again, this was an image that really inspired me. It was like so I really just tried to stay true to what I really loved seeing. That's good. That's because it's your style. You need to show the world how you see it in your editing. I is important. It's just kind of once again kind of flicking feathering on the contours of her eyes. Continue to kind of moved down her face at these really soft, great washes. My lords, when millions are Japanese illustration because they use, like the least amount of line work very strong, confident line work to create artwork. And I feel like that style is something that I just I love. And I'm always trying to do with my work and finding images of really strong looking woman woman who were thinking about something, or that's what I love to do and to combine that with an element of fashion. I'm gonna come in and dio just that soft grey wash for under her chin with a larger wash angle. Right brush. Let's keep it very soft, very light. You want to use brushes like this for larger areas because you need to cover. You don't want to use a little brush and spend getting all these brush strokes down. Doing too much work for a bigger in area. So I feel like there's a little hair right there will have to pick up in a second. And as it starts to lift on dry, you can still continue the work. What on what if you wanted to build more color? Maybe in lashes, you say Okay, I just want a little bit more darkness. And then I like to let this area that browse the nose and lips to lift a little before I start to actually layer pencil and pen on top to kind of build build it because I think that I just like to like I said before, I love to mix mediums and little pair. Come on, I like to build slowly for the face 5. STEP 3: Wet-on Wet Technique to block in large washes: So the next part we're gonna using the what? On what technique? Again. And I'm gonna move my one just a little bit closer because you're gonna wanna work quickly when you do the wild. What technique? You've probably seen me do this on INSTAGRAM, and it's it's one of my favorite things to do and capture because it's so fun. So what I'm gonna do is I'm going to take my flat ankle brush and load up my brush with the water and painted on to this section of hair here, and you have to work quickly. So this might be something you just need to practice on a bunch of sheets of paper to understand how it works and how the ratio of water to color and how quickly you need to work. Well, it takes practice to figure out judges. So while it's what while it's so glistening while you want, you know it's covered with water is when you need to take, um, a brush and loaded up with just black ink. And that's when the magic happens. And really, this part is really up to you was like where you want the color to go and really less is more with us. So even going back over this, I get a little like don't overwork it. I think the thing about water colors that teaches you that less is more And it teaches you that you need to let the colored do things for you that your hand can. So I'm just going to kind of come back and fill in pushing manipulate the water in the color to the places that I wanted to go without having to reload my brush. Um, because you're also gonna get a surprise effect with this as to how it dries. And, um, I'm gonna bring this color down. Like I said, I didn't have to reload this brush because there's so much water and color on here. And because I've been doing this for so long, I kind of know how it's gonna dry. If I want to add a bit more ink in color, I can come in and just kind of drops, um, color in because I love I love to this technique, and I love seeing the black ink kind of lead Whoa! And just looks super cool. And I'm gonna take some more of that in completed on my liner brush come in and kind of create some. Some flicks make her hair look like it's falling a bit more. If I don't like that, always come back up and I can always pull more color down. I can always go back over with pencil and pen to create more fine ones. If I'd like to do so, I'm gonna do this side as well. It's really important to only put the water where you want it to go. And it might be important to work on the after this part is dried just to make sure you don't get any color bleeds when the this portion hits that portion. I love watching the water kind of flowing down the color in order to see that one print wasn't with. That's okay. I try not to get upset. Some things, like not dry that it goes somewhere because I can always like like I always come up here and have it off, and I'm gonna make thes eyebrows darker anyways with pencil and charcoal so I don't get a little bit, and then I have all these areas where I just want to kind of come in, add some wisps. These take a bit of confidence and to be feeling really worked up and ready to go, I'm gonna paint these off camera more, because right now, I'm kind of painting at a little bit different angle than it normally would just to get the capture in. So I'm gonna just finesse that a little bit off camera, and then we're going to work on the bottom portion of the pain. 6. STEP 4: Adding texture and layers to the painting: So the next step is we're gonna actually start to do I think the really fun part, which is you kind of past the more technical side of, like trying to get a face right. And now you kind of are open to the fact that you could be a bit more creative, more spontaneous with how you choose to finish this painting. And to me, finishing a painting is almost like putting an outfit together or how you decide you're gonna accessorize your look. And I think that's why I love little details. I love finishing looks with me a gold flick on her I or a pop of color on her lip or an earring or a really interesting top, because it's it's just basically making the painting a bit more fun, unique, and so I'm gonna use this as reference. But like I said, never really be married to the reference using as a starting point. And by all means, take liberty, go whatever way you want. I just really loved the lines and the colors in this, and I think the pink with the black will be really pretty. I always love that combination. I'm gonna load up my brush with a lot of quash pain. In fact, I'm gonna do it like I've been doing with a lot of my paintings recently where I put two colors right next to each other, because then they can kind of blend and make fun shapes. So I'm gonna start with just kind of putting this on as a flower shape. And I like using a lot of pain now because what happened or is it starts, just I think the texture is so fun to look at. And, um, I've started painting this way more recently, and I took some of these pains to an event I was doing and people wanted to touch them. And I was so close. I don't think I've ever had people be like, Can I touch your painting? I was like they loved seeing that. I'm kind of running it back over because I liked the way that that's part looked with a pink on top. This is when you need to, like, not overwork it. So I feel good with where that's that I like that there is, like parts of the brush that are losing pink, so it gives you even more in texture, and it helps you see that it's actually paint, which I think is one of my favorite things with working. I want people to see the actual medium sometimes. So the flower kind of has like these different pedals. There's levels of shared nous which I really like. You see the white hair, you see the baby pink, you see, like this beige color. I just love all of those. And so I think now I'm gonna just maybe do some big texture of paint for this Pedals maybe do one time see how I feel about it. And I I always have to stop and kind of look at the pain and seeing if it's like, what? Where would the balance of best if I added something here coming down this way? It's really about stepping back and looking at the painting to So I'm just gonna take this trying to move quickly and see if I like that or if I want to say you know what, I want to make the petal look a little bit more. Uh, if I wanted to put something shoulder, I'm not sure yet. I just tryingto treat it like you're having fun and you're allowed to make mistakes. You have to go with it any way you want to. I really like the shoulder here on the side. So if I wanted to, I could just take the color that I already have. That's like a very light pink. Okay, Okay. Just first set in. I mean, as you can see, like, there's a 1,000,000 different ways go with the painting. And that's why I think I I do so many of the same thing, the same look, because I'm like, Oh, I should have done it this way or that one got away from me and I wanna try doing it again . You just never know. It's gonna go And this is gonna look, I feel like once I put the black in, it's gonna make much more sense right now is just looking like a bunch of abstract shapes and got some. I've got some of stakes in here, but I'm not gonna I'm gonna worry a lot like fade off with this. Just flash some color on there, but what I really want to do, what I'm really excited about is doing this black part on top. So I do need to actually wait for that Teoh dry. I've got a little blooper here so I can either, like, say, Hey, you know, I like that. Maybe I'll make it into on the side of this. Thank to be you look stupid, but I really care. I think that's where you need to get with. Your work is like, don't get so attached to every little scene they make. And dio, this is also a great time. Like while you're waiting for this side too dry, Go back in and start putting details for the face. So this parts dry and now I can start feathering in her Brown's I can build up. I usually kind of like catches pencil and then I take the blending some. Then I started just kind of blend. I feel like the blinds. Trump is such an underrated tool on an artist. Kit isn't like it just brings that softness and shading that you can't get from anything else, but you'll see as I kind of just start to go over. For some people, their favorite part of the whole process are the details, because you can really just get into them. And there been more relaxing to Dio, I think is, well, you don't feel us like there's just a bunch of risk when you're like doing this part. You could just kind of refined things and make them pretty and soft. And so that's that's kind of how I fill in the rest of the face off camera. I'm gonna fill this in a bit more while I'm waiting for the bottom part to dry. 7. STEP 5: Finalizing the painting and using your instincts: All right, So now we're gonna do the last step, which is I'm going Teoh, add this black flower to the mix of this painting, and so I'm just going toe up my big brush, which just black acrylic paint, because it's gonna give me that nice Oh, paying black painting isn't completely dry, but I'm OK with that. Um, I don't mind kind of coming in here if I get a little bit of mixture of the two. Don't really bother me that much. And the great thing about, you know, maybe going a switching to something thicker is that you can continue to layer. And the beauty with acrylics is they cannot act like in a race or two as well. So and washes. I was creating that kind of edge and you'll see that I got a lot of texture. I got super dark color. Um, real quick payoff for that. And now I'm gonna do those little don't know what you call this Pollen things. I'm gonna use my favorite brush again. This angle break. I'm gonna load it up with black, and I'm just going to start doing these, you know? Just do the lines first. You don't have to follow it exactly as it is in the picture, because you're also working it into the flow of this painting I really love the contrast of the black with this pink kind of looks like super abstract. You know, like an alien or spider. Make sure they are very You want to kind of create, like, some thin, some thick some longer? Some. You don't want them to be the exact same shape next to one another. Um, and now we have those kind of like a heart. All right, so this is where you just kind of have to take him, make it work. And if not, I can go back over with some some of this color here. You see that, uh, mistakes always happen. It was kind of going over. Maybe this was gonna look a little bit rest. No, that's my God. You have heard her this entire lesson. It's Chloe. Chloe, As you can see, this is the painstaking are completely different feel with this aspect being added. And that's why so often, when I post things on instagram, I'll be like, I'm not sure what I feel about this painting or I'll be like Oh, I don't like it, but I just feel like it's important Toe Lake Be open about these things, and sometimes it takes a minute to figure out if you you know if the pain center she needs to keep working on top of it are things like that. I mean, this painting could go in so many different directions I could continue to build and layer up in between. This pedals are come back into the face and layer in color. But for right now I'm enjoying the contrast between, you know, thick paint paint that supplied with more texture versus something that's light versus the wet on wet. The flow that's going from her face to here and kind of back. Usually with all are you want to have your I kind of traveling and looking at those things , and it's important to kind of stop painting so you don't overwork it. So I'm at that place where it's like I should probably stop, leave it alone, come back to it with fresh eyes and see if there's any last week's that I want to do to this painting. So I hope that as you're working and you're making your own art that you can practice a level of, um, working with the painting. If those mistakes that happen, you know, don't let them stop you from continuing toe work through them, use them to your advantage and have fun, use improvisation, make it your own and realize that this didn't take that long. So now if I wanted to try it again, if I felt like something didn't work, I can try doing it again. I think what a lot of people will do is they just abandon a painting and they don't ever want to do that same thing again. And I would say Do it again. I've had so many paintings that I started and I feel like I could get it right. But I don't get it right the first few times or even dozen times. So just remember that as you're creating, have fun. Be inspired. I hope you learned from this lesson I will show a picture of the final piece. After I add a few things, I'll let you know what I do. But for the most part, I feel comfortable with where this is that and it's more about maybe creating a final few details and then being done. And so I hope you learned something. Let me know what you think. This is my 1st 1 So thank you for bearing with me as I tried to figure out how to make a video that I can teach you something and inspire you. There is a bit of a learning curve here, and thank you to Julia for filming this. 8. STEP 6: Finishing your painting: So here is the finished painting. I went ahead and I added a few more colors. I basically I just wanted Teoh kind of at a new pop or layer of color to kind of complete the peace. And I went with this iridescent copper find acrylic from golden and just a reminder. This is the black ink that I used from Dr Phillips is a Bombay black. Um, I hope you were able to see something in these videos that inspires you or helps teach you something that maybe you didn't know. But mainly, my purpose here is I always want you guys to feel empowered. I want you to know that it's okay to be in perfect. I want you to be kind yourself. Have fun, get lost in the process and please share with me what you end up creating. I would love to get your feedback and thank you for attending and watching my first ever skill share class