1. How to work from a client brief : - Hi, - I'm Jennifer Lilia. - Welcome to my studio today. - I'm gonna talk about how to take a client brief and turn it into a fabulous fashion - illustration, - As fun is, - painting can be. - If you can't convey your clients requests into an illustration, - then art is just gonna remain a hobby and not become a really awesome career. - So you guys have seen my final illustrations at, - like in ads and on websites and the stuff that I post on Facebook. - But you're probably not aware of all the stuff that goes on behind the scenes and the days - and sometimes weeks that it takes leading up to the final art to actually get to there. - So occasionally I'll have a client that will let me paint anything for them like, - just go crazy, - which is really fun, - an awesome. - But it's not a regular occurrence and normally have to work with a client briefs and these - air specifics for client branding, - like whether it's like the style of the girl color scheme, - you know, - specs and sizes to fit on their websites or in print ads. - All of these things come together to make a final illustration. - One of my favorite client briefs came from Michael's Consignment Shop for Women, - which is this really awesome high end consignment shop on Madison Avenue. - And the store has been around since 1954. - They approached me about a year and 1/2 ago to update the Michaels girl Sophie, - who has this whole back story, - which is really fun. - Michaels has a great history in the city, - and I love any store that uses fashion illustration. - So I was like, - Yes, - this is fantastic. - I actually still have the original client brief that I got from Michael's when I first - started working with them, - and they went on to explain Who's Sophia is the girl that shops at their store? - Um, - Sophie's incredibly stylish and hardworking. - She's got a fun loving personality, - flair for fashion. - She enjoys every minute of every day, - and she's always dressed for the occasion. - By day, - So few pitches Fortune 500 Flying's Chanel pantsuit, - and by night she's sipping bubbly like at an art opening wearing Prada. - Or she'll be at a charity gala in an Oscar de la Renta gown. - So Sophie is just a total city girl. - She loves her designer stuff But she knows where to get a bargain. - She's totally fantastic, - and it was super setting to be able to, - like, - update her. - She looks like she doesn't have to try. - She's naturally stylish. - She's fun, - fabulous and fashionable. - That's my kind of thing. - So the first illustration job that I had Michaels was to update these girls for a quick ad - that was going up on the website announcing that there store was gonna be closed for a week - or whatever for renovations so we can see that these girls look a little dated a little - stiff. - I said I needed to bring Sophie into today, - so I basically I took the same the same long gown and the same little suit here, - the dark hair or whatever, - and I just I turned them into modern girls and made them lighter, - fresher, - just like an era phone about them. - So this round of illustrations was just a stepping stone to what Sophie was going to - ultimately look like, - because you're not gonna be wearing a king sequined gown with up doing jewelry every day. - I had to work more towards this angle for their everyday print ads for first Sophie. - That's like working all day and then going out at night, - not necessarily to Gallas. - What So after some rough sketches of different hair styles and some different outfits, - this is how Sophie ended up being just a really cool, - hardworking girl like hair back, - which is practical but can go from like day tonight and, - like, - sort of any event. - And I kept the pink of the old as and teal and then brought in some black and gray to sort - of ground everything and just, - you know, - make it my style because I work with black ink all the time so you can see she's just, - like, - super psyched to be shopping Michaels. - And she's happy she's getting a deal like she's just cooler and like, - more updated than the older branding. - So, - as we progressed with Sophie over the past year and 1/2 or so you can see like the pink, - the teal and the gray is still a running theme. - But she could be basically dressed in anything, - and she still got that personality. - You know, - she's the Michaels girl right here. - She's holiday shopping, - so she just has that, - like extra little like fund your mouths and boots Key little dogs. - So this is one of my favorite illustrations. - This is Sophie cleaning out her own closet at home and bringing her clothes back to - Michael's to sell on consignment. - So she's just, - like, - filled with, - like, - Oliver accessories, - including hats or whatever she's all like. - Oh, - I need to clean my closet out so I can make more room to buy more clothes. - So this will be upon the website. - Very. - I think she's very cute. - Since this video isn't just about illustration, - it's also about working with your client. - I just want to show you some of the rough sketches that I did for this version of Sophie - with her closet that's like overflowing, - and she's got to get rid of some of her clothes. - I did four for the client Tammy, - It Michaels, - and this one was just like, - you know, - Sophie trying to, - like, - hold back excluding closet. - This one was her on the floor, - just being overwhelmed by, - like all the clues that she's surrounded with same sort of concept here, - just like exhaustion with the closet. - And then the one that Tammy finally went with is just Sophie literally wearing like her - tons of hats and bags and whatever coming out of her closet, - like just being like, - completely overwhelmed. - And she knows that she needs to go consign these clothes that she could buy even more. - So basically, - this role sketch turned into this and you can see it's like it's pretty similar, - even with the bag around her, - her chest and like all the hats and everything, - and I had to do Sophie separately so that she could be used separately on the website. - So I did the background closet on a separate piece of paper and then put them two together - and put the two together. 5. Supplies! Supplies!: - I want to go over my supplies and the way it's set up my drawing table, - because this is literally my favorite spot on the planet, - like everything has to be in order and usable and like, - inspiring so that I can work really comfortably and be really productive while I'm here. - So I'm gonna start with the paper because any good painting needs a really good surface to - start with. - I use Stonehenge, - which is a £90 printmaking paper. - It's really versatile. - You can use it with pains and pencils or whatever. - It actually comes in sheets of 22 by 30 which I had shot down to standard sizes like 11 by - 14 or 14 by 17. - Basically anything that will fit into my standard in one piece without me having to, - like, - scan in sections. - When you put a stroke of pain down on Stonehenge, - it just stays there. - It doesn't bleed. - It absorbs perfectly. - So if you're looking for paper, - you should definitely check out Stonehenge. - So my favorite brushes are Windsor and new in university. - Serious brushes. - You can find them in almost any art store or order them online in bulk. - Like I do. - They're synthetic brush there really affordable, - and they just They create a perfectly smooth line, - but they're sturdy enough to use heavy acrylic on. - And apparently you can even use oil paints with these. - But they're also like, - so smooth and silky that you can use these for, - like, - really fine watercolor washes like I just think they're so versatile. - Perfect. - I only use round brushes. - I don't like flat brushes or fan brushes. - I feel like round brushes, - like are just perfect for me. - Like you can get a lot of coverage with a larger one or a perfect point, - like with any of these. - But my my favorite brush is so it's like hardly even a rush so teeny tiny. - It's the Triple zero, - and it creates like the most delicate detail, - like I feel like they're only a couple of little hairs in this brush. - The detail you can get is just amazing. - So I do a lot of my faces with these, - and a lot of might inclines with these. - I worked with a variety from like the Triple zero to like a size eight or 12 and it just - depends on the amount of coverage that you know that you're working on like you want a - larger brush for, - like, - a background wash, - like a medium rush for, - you know, - maybe, - like some, - you know, - pattern detail or whatever. - Like you just sort of have to experiment like we brushes that you're comfortable with and - sizes that work for what you're painting. - So along with a different size brushes I have. - I actually have doubles of some of my favorites, - like triple zeros and fives and twos or whatever. - I have a brush for dark colors and ink and a brush for light colors. - I find that it keeps the painting fresh, - and I'm not having to worry about like a darker color, - accidentally sleeping through if I haven't rinsed the brush as well as I should have. - So that actually leaves into all the water jars that I have here. - I use certain jars for light colors, - certain jars for just black ink and dark colors, - and then I have a jar in the back that I use just for metallics. - So the more water the better. - Who, - as far as I'm concerned, - I actually don't use black acrylic paint, - use black waterproof Higgins Inc. - Not that you could read this container because it's a total mess, - but I buy it in the size and, - like this container like this will ask me like a year. - Maybe this ink one is waterproof, - so, - like once it's down on paper like you can't smudge it or blend it like once the lines air - dry there just there forever. - You can use it straight out of container, - and it's this perfectly deep black ink that's just like delicious. - Or you can water it down like a like a teeny tiny drop into, - like you know, - a tablespoon of water, - and you'll create these like great great washes that you can use to sketch with on your - paper. - This pallet is the most amazing thing on the planet, - like it saves paint from weeks like I can you tell you, - like how many hundreds or thousands of dollars I've saved in acrylic paint purchases since - I've gotten this palette? - It's a Tom image. - You can buy it online from certain stores, - and it just has all these wells for a rainbow of colors. - It's got a perfect surface to mix the colors on, - and then I have a tinier palette, - which I just I use for my black ink Or, - you know, - just like certain colors that I'm trying to blend for a painting, - and it comes with a cover that you just took it over and your paint will last for weeks - like it's the best invention member. - They also have this super cute built tiny palette, - which I use just for metallics. - Metallic paints. - Acrylics are just really concentrated, - and you never need, - like, - more than a couple drops, - and you can see I've got spray bottles. - Acrylic paint will dry out like this will dry out in a couple hours if I left it out. - So as I'm working, - I'm constantly spraying water on it to keep the painting waste. - And they also use the spray bottles like instead of like going back and forth my brushes to - like, - you know, - sort of thing down paints. - I'll just use the spray bottle to add water to whatever calling, - trying to, - like, - stand out in mix. - So I love working in acrylics over water colors. - Acrylics are just really, - really fun because, - like they're opaque and you can get like these amazing, - amazing richness in the color when you layer on top of each other or this, - like this beautiful translucency to them and my favorite brands. - I used liquid tax sometimes, - but my favorite favorite brand of who plan is golden. - The pigment is really rich. - The pain is just like, - smooth and buttery and mixes so well it's just the best thing ever. - So this is my basic studio set up my drawing table outside of the supplies here, - I have to really bright drawing lamps, - which I used during the day, - even when sunlight is coming in and at night just because they were like a consistent - brightness that I work from. - I just have my wall of inspiration of, - you know, - either reference that I need for a project or just like colors or paintings, - like anything that just sort of, - like gets my artistic inspiration going. - It's like it's basically a whole mood board wall of just fun stuff. - So here's my studio, - and like I said before, - it's my favorite spot on the planet 9. Sketch Out Your Illustration In Paint : - the way I start out, - every single painting I do is taking a little bit of, - like had orange and watering it down like something that's barely perceptible. - It's just it. - It serves as an outline for the sketch, - and that way I can see if something is going to work better, - like being put in one place or another. - If the sizing is right, - if the layout is right, - it's so light on the paper that I can completely move the final sketch over a little bit. - And it's It's not going affect anything except maybe even creating a little bit more - movement in layers of color. - So just singly, - late washing color. - And then I just start from head to toe. - That's gonna be here. - Ponytail, - neck, - high, - shoulder, - high hit. - She's holding a bunch of clues back, - so I'm just gonna indicate that very lightly. - And then she's She's got her hand, - her elbow resting on her hip, - and she's holding line and chatting. - So I just sort of go back and forth, - trying Teoh trying to get the basic shape of this girl, - and I usually just blocked this out as a time saver and once I have a basic shape down. - I'll take a what is that Number three round brush and going with just a teeny bit more - detail? - And one thing that's incredibly important to note is that I let every layer of paint dry. - So once, - if I'm working on this and reality, - I'll have true three other illustrations that I'm working on at the same time. - Um, - I never I never use a hair dryer in the Simon under an insane time crunch because I like to - let the paint dry. - Naturally in Just like that, - the shapes be organic and just how they are. - So no hairdryer time, - usually about 10 minutes per layer, - just depending on how much pain is on the paper. - So obviously this video is gonna be sped up, - but let this dry and then we'll go in in with the lighting sketch out. - So here's where I'm going to start sketching with black ink, - and what I do is I take like a teeny tiny drop of the black ink and mix it with like a well - ful of clean water. - And then I test my brush strokes and and the shade of the ink on paper, - and I use this things, - that paper that I drawn to test on because I just want everything to be consistent, - obviously. - And I don't I don't use pencil to sketch with, - because I feel like I don't I don't enjoy that. - It's smudges and it also leaves a little bit of a dent in the paper. - And I feel like pain just sort of like Wells up in those dents. - And it just it's sort of like messes up the lightness of layers of color that I enjoy. - So I just take like, - a really super late wash, - my Triple zero. - But she can see it now. - How tiny it is. - It's just really awesome. - So I'm starting off with her hair and she's gonna be wearing a little pony tail. - And these are just late a little light lines that are going to be another guy buying for - when I go back in with all the layers of color in detail, - I always start with the face. - I think it's the most important part of the illustration. - And sometimes if the face isn't working out like if she's not as pretty or is known, - is happier not as happy as he wanted to look, - I really I literally just crumple of the paper to start over or just like using a scrap - paper. - I don't like overworking in illustrations that just it feels labored and it feels tired. - I think fashion illustration is all about freshness and fun. - She's gonna be smiling in this illustration and shouting with the other for the other woman - standing next to her. - So she's gonna have a little bit of a smile open mouth. - And usually these inclines are so light that they're not really gonna be noticeable. - In the final piece, - you probably see like a little bits of them, - but they're very easy to go over with darker lines and other layers of acrylic. - So now we're gonna give her a nice long fashion nick color of the shirt ponytail off to the - side, - even though in real life a ponytail, - like just sort of hangs down your back in fashion illustration, - you want everything to have more movement than it normally does. - So we're just gonna pretend she's like in a wind tunnel and, - like your hair is living in the breeze all fashionably, - so I exaggerate the angle of the shoulders. - And when you have a low shoulder on one side, - just basic human anatomy hit is going to be higher. - And if you have a high shoulder that you're gonna have a little hit and you can tell that - I'm not completely using that cat orange under painting, - that's just like a basic basic shape outline. - It doesn't really matter. - It's just It was really for quick movement placement on the page and shapes of each part of - her body. - But towards the end, - this illustration illustrations barely gonna be noticeable. - It's just gonna be another labour layer of paint that's gonna add more movement to the - final piece. - So she's holding a pile of clothes here, - some hangers. - And once again these are just sort of really just late a light indication of where some - color and shape and pattern will be. - These clues, - this one, - her elbows sort of resting against that high hip. - And she's I just got a glass of wine and then just a light indication of her fingers. - You don't want to get into too much detail with the fingers because hands are really so - it's like one of the hardest things to draw. - But once you go into detail of them, - you take a wave of take away from the freshness of an illustration because they're so - detailed, - you just want to keep them simple. - And now we're going illustrating her long, - long fashion, - the eggs. - I haven't decided what sort of shoes she's gonna be wearing yet. - A lot of times, - you know, - details of an outfit or whatever will come to me as I'm painting. - I don't plan everything out at first, - and I think I think that's kind of close to finished outline right now and then I just I - let this dry again. - This will take up a lot that's time to dry than the first layer. - Probably 23 minutes, - especially under these lights try and were you back in a second? 11. Skin Shading And Face Detailing : - So now that the incline is dry, - I'm going to start with the skin tone and some light layers of colored for her clothing and - everything that she's holding right here. - So another light layer of cadmium orange and I always sort of shade my girls from the left - hand side and then, - like, - the light is hitting them from the right. - I think it just stems from me being right handed and literally just like wanting to start - here. - So I don't smudge pain as I go along. - So I add layers of color where shadows happy happened naturally on the face, - a little more sheeting in between between the eyes where her cheekbones are again This is - light. - It's not gonna not gonna show up too much in the final. - And there she is. - Her hands are exposed. - So I'm doing that skin tone there and then where she's holding the wine? - Um, - let's see. - I'm gonna give her some sort of sandal, - so I'm gonna I had a little skin tone to the shoe part, - and as you can see, - I sort of like go back and forth like across the paper, - just where I feel like everything is needed like there's no real Reimer reason like how I - paint when I'm actually get into it. - It's just sort of intuitive at this point. - So if I'm a little quiet while I'm painting, - that's the reason I'm just sort of using my creative mind rather than like being verbal - about it. - So I think the pain is sort of dry enough to work on her hair. - And she's She's a light brunette. - So I'm I'm taking some burn number and burnt Sienna and I'm mixing those two together and, - of course, - testing it again on my scrap paper here. - I can't I'm not sure if you can tell, - but this is I just need a teeny tiny bit of pain. - I think as filming this I feel like teeny tiny is one of my favorite freezes. - I'm using allergic brush to mix, - but I think a number three brush is good for this size illustration and for the detail that - I need in her hair. - I always blot on paper towels and have paper towel next to me if I if you know something is - leading, - or if I put too much paint on the paper so I started the roots. - We're hair's naturally darker. - Get lots of movement in that ponytail. - I'm just working around what? - Where her neck is in the collar and everything. - And you can tell I leave a decent amount of highlights. - I tried to use the paper underneath as a highlight. - I don't like having to go back in and paint with white paint or light paint to create - highlights. - I'd like them to happen naturally on the paper, - so I'm gonna take a dark triple zero again, - which is really the only brush that could I can use for face detail. - And I'm gonna work on her eyebrows and for her eyes, - take a bit oppression blue in black ink. - And I'm excited like this. - I hate using just straight black ink. - I feel like it creates a whole long paper, - so I'd like to make it either cooler with, - you know, - blues or greens or warmer with some red tones. - It's just like a little added interest in the color black, - basically, - So we start with the top lid, - and it's it's just a basic shape. - I don't really do to money lashes. - I don't want to be very literal, - and this is still only the first layer. - So her eyes will be more detailed and darker in the following steps, - and now it can add her eyes. - She's engaging the viewer of the website, - even though she's in a scene talking, - so she's looking straight ahead at us. - Always comes in handy. - Sometimes we'll use a little, - a little burned number too deep in the skin tone like of the under eye. - If I don't want, - like a really heavy like lots of cosmetics on a certain woman, - we're gonna go with more burned number here for the for more of a deeper brow. - Like I said, - I always start with the face. - If the face isn't coming out the way I wanted Teoh, - the whole illustration get scrapped and even in the eyes, - I try to leave paint the paper coming through for the highlight. - I'll add a little highlight at the end, - but everything I do like it just tries to come naturally through the paper, - mixing a little a little more dark, - darker burned number for more hair. - And this time I think I'm gonna use a number to brush to get some some smaller detail in - here, - you can see how the colors just sort of build up and create shapes of whatever I'm painting - . - Her hair has a slight wave to it, - so I usually usually working curves, - some trying, - getting a little closer for you guys. - When you see the detail of the face here, - I've got a deeper shade of black, - but it still has some that Prussian blue in it and deepening her eyeliner and those few - lashes giving her people again. - A lot of this is intuitive, - and I just sort of I just sort of feel out like where I want to give her more detail in - less detail and how glam I want her to be or not. 20. Layering Color To Create Shapes: - Okay, - so now that we know, - her face is offset and the rest of the illustration will be fine. - I'm gonna go ahead and mix up the pink, - and I'm going to use I'm using. - I think it's a number four brush. - I use a larger brush for larger painting areas and a smaller brush for smaller areas. - And again, - I'm working from left to right. - And again, - I'm just loosely following the outline that I I sketched for myself earlier. - She's got some bags and hangers and what not So I'm leaving little space here. - She's wearing a long sleeve shirt. - I pretty much just paint in shapes like I take each section of her shirt, - the collar, - so it's time to add one more layer of pink. - For this shirt. - Just do it. - It's the same pink that you'll find on Sophie in the rest of the illustrations. - - We've - been talking dress really well, - and I'm gonna add in a couple more colors with these garments just sort of wing in this. - You can tell I'm not going completely by my initial lacking sketch. - Like I said it like, - as I'm in the midst of a painting, - some things might change. - And I might just like to add something I thought like would enhance the illustration or, - like, - go against my original plan and just, - like, - make something a different shape, - like I can planet the best I can. - But there always some sort of tweaks when I'm in the midst of the painting and these colors - that I'm using here I have used in earlier Michael's consignment shop illustrations. - So this is all consistent branding ravage illustration. - Can one more layer of grey and see these color lines aren't perfect, - like it's not a perfect shape with a clean line. - So what happens after these shapes? - I'm gonna I'm gonna, - um, - make them really clear and defined with my black inclines. - So these don't have to be perfect. - Some of the pain will be outside of lines, - some will be in. - It's just just to get the idea of the color of each shape of what I'm painting, - I'm gonna darken up this bag. - I don't normally paint this far away like I have honestly, - really terrible pasture. - And I'm always like down in the painting. - So painting this far away from the papers a little odd for me, - but I don't know how else to film it and hopefully can see that sandal. - I just want to make it a little darker to give it some contrast between the gray of the - pant and then a little burgundy for the wine. - Nothing, - totally perfect. - Leaving some highlights from the paper. - And I think, - except for the shoot area, - I'm going to go in and add some more. - Some more skin, - skin tone, - detail ing. - I'm constantly changing out the scrap paper. - I've got piles and piles of it next to me in this sheets almost over. - I see nothing is ever perfect. - I'm always blotting up some splotch or dust or just whatever. - There's never really a perfect line. - It's just just do what you think works it makes you happy and makes the illustration fresh - and lively. - I'm gonna do some skin tone here, - but I'm gonna try to stay away from the sandal just cause that paint is dry. - If I wasn't filming, - I probably wait. - All right? - And then on to the next part, - I'm gonna let this dry, - and then I'm gonna go back in with black in detail. 21. Using Ink Lines To Bring Your Illustration Together : - so I've got some black ink on my brush. - It's just slightly thinned out, - but I'm going for a darker line overall. - Here the's inclines bring the entire illustration together. - I'd like to bury the line if something has, - like a shadow under it, - I'll try to do a thicker England, - and if there's a highlight touching it, - it will be a very thin line, - and it might be broken up as well. - - She's - holding Cem bags and whatnot, - so I'm just like making your hand like she's sort of delicately holding those persons. - I don't want her to have, - like a super crazy firm grip, - just something sort of elegant to keep those hands moving and just like just more graceful - than like you'd be gripping a suitcase or something. - You can add up pocket here just did to break up that space, - and I love getting a little bit of texture with the ink, - like more of a dry brush. - It just creates more interest than then completely wet ink in the same same wait lines all - the time. - I see lots of movement slots of quick, - curvy lines. - If this was realized that closer, - just be hanging on her like, - sort of limply and, - you know, - rather boring. - But since it's a fashion illustration, - I can completely exaggerate everything. - So all these clothes have a ton of movement, - and she's just using her arm. - As you know, - just like for the rack of clothes, - I was like adding, - like a little bit of, - Ah, - a bunched up fabric to like the curve of a waste or or her elbow. - I just think it's natural. - Um, - it's hard to explain. - Why do It's just It's just like a little little signature of mine again. - Another like fun flourish of the collar, - even though the color is probably just straightened triangular. - In reality, - you just want to make it really fun, - light and playful in your illustration, - and you can see how quickly I paint these lines. - I just I just like a really quick, - fresh expression, - expressive incline. - I don't like to really labor over anything too much. - If I make a mistake here or something, - it doesn't completely work out. - Well, - I'll just take thick white acrylic paint and just go over like that's what I'm gonna do to - this part of the hearing that I just sort of extended. - I'm gonna cover it up with acrylic, - and no one will know that mind when a little further than I actually intended it to. - So you guys can totally see the difference of what this black incline does. - It brings all the shapes together and makes them really items on her. - And it's just it's just really my favorite part of the illustration. - Everything is just sort of like beating up to this part again. - More texture, - little dryer lying just adds a little more interest, - and I catching, - maybe some pockets - having technical difficulties. - I tend to do a lighter line on something that's actually skin as opposed to of leather Shoe - . - I'll try to do a little thicker outline for contrast. - So right now, - since she's almost all done, - I'm just gonna go back over the entire illustration and add some more black ink where I - think she needs contrast again. - When you work everything as a whole, - it's just it's easy to make it easier to make it balanced and feel like like a sort of - complete illustration. - - I - feel like I want some texture in some of these items. - She's got a plane outfit on just because there's going to be so much going on in the - background that she really has to stand out as the main girl because there's so much color - in detail and movement that this has to just be sort of a little flatter and in that aspect - will be eye catching as opposed to everything else going on. 23. Finishing Touches & Shading : - I could give this this one a little texture with, - um, - some deeper t o again, - like it's I don't plan a lot of this. - It's just what I think needs to happen to complete an illustration. - And the same is gonna go for the yellow, - actually want a break in. - That too came a little too pale, - and I'm gonna give it a ruffle. - Could be a cute little yellow summery dress so that that definitely has to dry before I do - any ink in there and I feel like and on it up this read a little bit to so it balances with - the wine - again - . - Just little finishing details that I pick up really fun to do. - I think even her nose needs a little more definition, - and she's got some jewelry going on, - so I'm gonna take my metallics, - mix it with a little bit of black just to make it darker and stand out. - I'm gonna add You can add a zipper there, - Zipper here. - Little snap going on her earrings as well. - Are you gonna do late silver for the hangers? - Sometimes the metallic acrylic is sort of thick and gloppy. - Just because it's got the actual, - you know, - like sort of metallic crystals in it. - So really thin it out with water Before I worked with it, - we can see how light and delicate and fun metallics are. - Oh, - yeah, - Maybe a little necklace, - right? - So I'm gonna let this dry. - I'm gonna go back in to define those ruffles, - and then I'm gonna do my final shading. - So to complete the illustration and just bring everything together, - I I do. - My shadows in purple purple is actually normally occurring in a skin tone. - Like I think when people think of shadows, - they think of gray. - But you're not really gonna find gray in skin tone like your skin is really colorful. - So I use I used purple and again I do it from the left hand side of the image just where - shadows will naturally occur, - like along the hairline. - Find her jewelry, - the roots, - her hair and I like some of it to extend past the illustration. - I feel it just it rounds it out a little bit. - I don't like everything to be exact. - I'm not that kind of illustrator sometimes. - Oh, - I'll grab paint from my palate, - but sometimes They'll be enough on this scrap paper that Aiken grab a little bit and add it - to my brush from there. - And I just add shadows where they naturally occur. - Like where her nose is probably creasing a little bit in between the eyes definitely - underneath the chin. - I think it's just it's a great color for sheeting much. - And when it comes to accessories and what not even extend the shadow and out farther just - to just create a lot more movement like she's really swinging these bags includes again - just quick, - expressive lines Don't liver over it too much. - And like I was talking about the permanence of the ink earlier, - you can see I'm going over these inclines with really watery color and they're not smudging - . - It's on the paper. - It's there forever. - And that's why I love working with ink and acrylic paint because you can't blend. - It doesn't smudge. - It doesn't move. - It's just permanent. - And perfect is gonna be a lot of shading in this arm because it's it's behind her and I - want it. - Convey that in the illustration, - and then I think we got it. - Last thing I do sigh it and we're good to go. - So I hope that was fun for you guys. - It was fun for me, - and it was kind of crazy that I learned a lot about painting process myself, - having to break everything down, - piece by piece and stuff that I just do automatically every single day. - So anyway, - feel free to email me or get in touch with me and social media. - I love shouting about art with all of you guys and this year's tweak. - He's been at my feet the entire time trying to get on camera. - So anyway, - thanks so by I didn't kiss it.