Fashion Illustration- How to Paint Fabric Prints in 3D | Chris V | Skillshare

Fashion Illustration- How to Paint Fabric Prints in 3D

Chris V, Artist, Designer, Maker

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9 Lessons (52m)
    • 1. Intro

    • 2. What You'll Need

    • 3. Getting Inspired

    • 4. Tweed Suit

    • 5. Checked Suit

    • 6. Knit Cape and Skirt (2)

    • 7. Text Print Dress

    • 8. Thank You!

    • 9. Bonus Video


About This Class


Welcome to Fashion Illustration-How to Paint 3D Fabric Prints, a class focusing on how to paint fabric prints on the fashion figure.  I'll paint four head to toe runway looks by Chanel, Stella McCartney, Akris and MiuMiu.  I will do a quick overview of how I sketch my looks, then I'll be showcasing my tips and tricks to save you time and create special textile effects and textures with watercolors.  There may be a bonus video at the end as a treat for having watched the entire class, so don't miss that!  ; )

As always, please reach out to me if you have any questions about the class, or if you need help with navigating Skillshare.  I'm here for you!!!  


1. Intro: I have loved fashion, Really, ever since I can remember And I mean the design. The illustration. I've been so fortunate in my adult life to work for companies like Marnie Chanel and ST John Knits. I've even designed and produced my own pieces. Hi, I'm crispy. And you might remember my other class called watercolor fabric swatches, where we painted textiles on the flat. In this class, I'm hitting the studio to show you my process for taking those prints and applying them to the human fashion form, including perspective, shading and other tips and tricks. I'll show you my tools and materials, how I get inspired and this sketch to the painting to the finish to produce your own beautiful fashion illustrations. So I hope you'll join me. You got this fashion illustration. How to paint fabrics and three D C and the next video to get started. 2. What You'll Need: What I use these projects is super basic like pencil an eraser, paper towels to stop up messes, two sized brushes, medium and detail. Ah, the medium being a water brush. But you can use whatever brushes you're comfortable with. For paper. I used a cast in water color, £140 cold press paper that has a lot of texture and holds a lot of water. And then, for my workspace, I just made sure my sketchbook is in front of me. My paints and brushes and paper towels are very readily accessible, and the water is somewhere nearby for me to switch my brush. Now I'll meet in the next video to get inspired. See there. 3. Getting Inspired: I want to talk to you a little bit about getting inspired. One of my main sources of inspiration is pinch arrest. So I have lots of stuff on my board. This is my Pinterest page, where I have created a special board for this class, so is loaded with examples of textile swatches with different textures, different patterns, florals, classics and everything that I've used in my projects in the class are included here in this board, so you can refer back to them at some point. So another great resource, of course, is going to be Google. And I just did a search for fabric prints and, um, a lot of things will come up. I have here a shop that sells fabrics. I've pulled up fabric designers. Um, if you hit the images tab, you will have an endless source of prints of all kinds. And of course, you can narrow your search to special types of Prince, um, and get lots of examples that way as well. Another resource that I used a lot in my, um, fashion illustration is vogue dot com because I can at my fingertips pull up prince that are trending right now, Um, new innovations in prints. Um, right now, stripes are really a big deal. Um, all kinds of color blocking, ah, themed prints. So you can find a lot of really cool stuff on this website. Another way that I find fun princes to look at. My favorite fashion designers like Diane Von Furstenberg has some gorgeous floral print examples on the North from dot com website, which is another great resource. Uh, so I'd like to talk to you a little bit about magazines as well, because between the home decor magazines and fashion magazines, there are so many print examples that, um, you can use as well if you have some fabrics in your fabric cabinet or even in your closet that inspire you. I definitely feel free to use that as well. For this project. Anything goes, and I will see you in the next video to get started on creating your fabric swatches 4. Tweed Suit: I'm doing this beautiful Chanel look. It's a tweed suit with featuring patent leather, and I am just starting with my micron right on top of my sketch and which I, uh I'm going to feature some really define lines on this particular particular piece. So I want to go through and just go over all my sketching lines, and this is a good opportunity to kind of fix any, um, and sharpen any little issues I had with my sketch. They'll see. I'm not going over exactly every single line as it is because I'm improving as I go. Sometimes these pieces need several passes and you can see I, um, doing the detail on the pockets, getting their hands to feel like they're coming out of the pockets, a French on the bottom of the crop top just going over every single part, just kind of mostly from top to bottom. But sometimes I'll miss some stuff and just kind of backtrack. And now I can show the detail of the the wrinkles being ah, from the hands, the way to the hands pulling on the pant and that patent Foshan full shorts kind of arm of that being outlined. And now I can just quickly sketch the tweet. The tweets gonna be a much softer looks. I want softer lines, um, to show that we'll be doing a lot more detail with the water color. Teoh Um show the folds, cetera, But I can definitely kind of line them in initially. And then the darkness in between the legs inside the sleeves and then, um, wrapping up with the bottom of the jacket and showing the folds and shadows and there as well. Now I just want to detail the face a little bit. You don't have to do the detail in the face, but I just like a little bit of of facial detail to give it a little personality. That's not something that's required in this project and that hat. And this had its clear plastic. So I'm going to be showing you some tricks later on on how to show that it is. Ah, see through material just going down outlining the shoes and I'm gonna start right in with this aqua color. Just cover in the entire jacket and then these faux Patton shorts and I will have this color on my paintbrush just dabbing her eye shadow and starting the stripes on the tweet so they will be crisscross lines. Uh, and I'm gonna let that dry. Well, I start on the pant. It will be coming back with some more colors. So when I'm doing the pants, I want to make sure the tweet follows the line in which her legs are are going in and, uh, following the folds following the way the fabric is draping. This is going to be really important, um, to look realistic and showing this fringe coming out the side. This tweet is very chunky. So it's kind of sticking out and coming back with ah, a light blue and hitting the pant with a light blue And I realized I forgot to go across with the green So I'll come back and do that after I'm done with the blue Let's make sure, Well, I have the blue, my paintbrush. And you know, doing these dashed lines is is not, um I didn't do it much in the top because it was so short. But the pant is very long and dramatic, so Ah, the dashed aligns ah will show how on this tweet how essentially it's weaving in and out. Ah, these colors air weaving in and out of one another. It's kind of like a three d plaid if you want to look at it that way. So the dash lines kind of give the effect that it's weaving in and out like it actually is in the photo and working on that fringe a little bit. So every time I I changed the color my brush, I add a little bit of that color to the fringe. But I want to leave a little white in it, because this this tweet is very light, an airy, and it does have white in it, and I want to make sure that it doesn't get too heavy and color and again following the line of, um, the way that fabricas draping. There's a fold on the right hand side of that leg that I want to make sure kind of waves. You can see those a little bit of, ah, a wave and on the right hand side and coming back with that aqua strike going across, dashing it here and there, and now I want to go in with a little bit of light pink because there is a little bit in that tweet. Uh, but I don't want to show a lot of it. It's it's kind of in the background, So I want to show. I'm just gonna put little pink dots here, and they're intertwined into the crisscross of the green and the blue, leaving some white showing to show the white threads of this tweet fabric. So it just adds a hint of color. It's not a huge presence, but it's definitely there. And it adds toothy, um, effect. And again, careful to follow the lines of where, um, How the tweet is is draping on her body. And once you get the main colors in this thes tweet fabrics, adding, Ah, the back run ones, there are pretty quick process. So I'm just adding a bit more awkward to to just add some shadow here and there. Like underwear. The, uh, the faux shorts connect with the pant. Ah, some more of this fringe hanging out where some of the folds are gonna add a little blue here, in between the legs where there's a shadow where the fold is on the left. And while that's drawing I'm gonna add some flesh tone a little bit lighter where the hat is. And that's part of the secret of showing a see through material like this plastic hat, which I'll be showing you more later. And the hair this will be actually be a good example of what I'm talking about. So I'm going to make the hair darker where it's not under the hat and where it is under the hat. I'm gonna lighten it quite a bit to show the distinction of color and again, some shading, some sharpening is going through and catching some of my shadows with a darker, awkward paint in the jacket in between the arm and the body under the lapel just everywhere it were. You see shadow in the photo. I'm trying Teoh go back and with e darker aqua and and accentuate that detail inside the sleeves under the and I know American essentially these wrinkles a bit more gives it some real shading, and with the flush tone a little bit darker than the original, I can show some of the shading where the clothing and and uh is creating shadow on the skin and where the head is creating shadow on the neck. And I made this hair a bit dark under the hat. So I'm just gonna lighten that up and dark in this down here so we can really see the distinction between what's under the hat and what's coming out of the hat and that will help us to create that effect of, um, the plastic showing a little detail on the shoes. This a little bit of gray to show some some wrinkles in the patent leather there, just sharpening my folds with a little bit of gray, and that concludes this painting. 5. Checked Suit: I'm painting this checked suit by actress out of Switzerland. So starting out with our completed sketch, um, I'm just gonna go ahead and take the micron and start outlining, uh, keeping my eye on the image just to make sure I didn't miss anything with the pencil and just one line at a time. Just continually looking at the image. Ah, start to put the final outlines on everything, and this process is perfect for, you know, um, starting to take a lot of the work out of the painting. Um, the my crime will be my guide. Ah, as to where I'm laying my brush and also will save me a lot of strokes, I think, Ah, as I will be able, Teoh, Um, like, for example, creating the lines on the top just now, the stripes, I'll be able to really lay down where those stripes are going to be predominant. And, ah, I won't have to paint quite a smudge on this particular ah sketch. You'll notice I am shaping my stripes according to the direction the body is going. Ah, according to the direction that the fabric is twisting. Um, so I'm really careful to pay attention to ah, the folds in the fabric and making sure that going across, down and across that they are out of matching what's going on those over. I'm doing the same thing on the left hand side as well, so you can see I've done the larger stripes on the jacket. Smaller stripes on, um, the underpinning. And now the stripes of going down the arm now across the lapel, a going almost upward because that part is hanging down. So those lines would be going almost a little bit diagonally Andi matching that angle with the downward stripe and then down the other way As the jacket curves and folds, you'll see I've got some some motion. It shows motion when you curve the stripes or lines or whatever kind of pattern you have going on. And on the end, you'll see I have curved those lines around and upward a little bit so that it shows going around the shoulder around the arm and again these strike across stripes, going a slightly downward, a diagonal direction to show that they're hanging just a little bit and you'll see the bottom of the top. I've gone up and around the left leg and up even higher on the right leg to show how the the right leg is moving forward in front of the left leg. That upward motion shows that it's going forward and following the movement of the leg with ease. Stripes really important to do that, because that now makes look very realistic and being careful that the Downward Stripes don't look too straight. But, ah, somewhat between the legs there, this little shadow and I'm almost kind of sketching with my micron, so it's got a nice sort of a rough feel to it. I do like that organic look not too perfect and sketching in some of the folds that I'll be , um, it kind of is gonna help you again to guide my stripes and you'll see I'm careful not to get too perfect with these stripes, that they're not too straight, that they're following the folds and kind of going up and over slightly shifting a little bit around the folds so they don't look too perfect. And now these straight across stripes are sort of molding around the leg, so you'll see they're slightly curved upward and changing as they go down, that getting a little bit straighter because now they're more in line with the I and I'm starting to show some of that star detail. But I'm not ready to do that yet, So I think I'm going to be doing more that with the paint, and I'm gonna let that go. And now this other left legs of the left leg is behind the the right one. And it's the calf is moving really backward at an angle. Um, so the foreleg will show a little straighter line than the calf, which is much more bent back, okay? And just going back and de telling the hair some of these details help me stay on track. They just help me feel like the images getting were completed. Um, getting that scarf wrapped around her neck. And we're going to just create a lot of folds and, um, bumps to show that texture and chunky nous of that scarf. It's super chunky, so you wanted to feel very bumpy and loaded with folds. Then this portion there's just kind of one full going down the middle. The rest of it's pretty straight, except the bottom that's curving a bit to show some movement, almost like a waving effect, like a flag, and then to show that it's in it. I've kind of drawn some texture lines into it, so it doesn't feel too flat, and I want to make it just a little bit more around the head. And now the shoes in full disclosure hands and feet are not my forte. So I have to be really careful when I'm working on those parts. Ah, the hands are actually in her pocket, so that made it a little bit easier for me on this one. Ah, the feet, though, are generally exposed. And ah, shaping them is a trick. They kind of start out skinny, go a little bit whiter and then ended a point, and I still managed to botch up that shoe. So I just filled it with black and, um mostly. And I'm just be putting a dab of yellow on it just to show that supposed to be yellow. But it doesn't. You know, your your sketch does not have to be exactly like your image. Just do your best and let your, um, your forte's shine through and let your more challenging parts Take a back seat. So I have completed her face. And now Ah, painting that scarf with yellow. I honestly could not wait to get that yellow paint on that scarf. I think it's so gorgeous, um, of a color. And I love this combination of black, white and yellow. I think it's very nice so you can see our micron lines showing through the yellow and kind of feeling like a nit that texture showing through. And I'm just gonna paint song flesh tone and let that dry and go ahead and start filling in our torso And, uh, I'm going to be leading, leaving some light and creating some dark to show show shadow. It's a pretty dark peace, but I want to definitely show some highlights. And, uh ah, it's a little dark under this scarf there. So there's a shadow there. There's a shadow on this. This top is super dark, so I'm gonna, uh, dark in that and make the rest of it kind of gray. So we have some nice contrast there and then on this pan instead of making that star pattern. I'm just going to paint straight stripes, and I think that's gonna tell enough of the story to look enough like the image that we're not working it to death. Just following the same exact lines that I drew with the Micron. I'm just gonna go over it with the the dark gray paint. Almost black. Just be real careful to stay with those micron lines, and that is our completed painting. 6. Knit Cape and Skirt (2): So I'm going to be painting this nit cape. It's a cell, a McCartney look. And, um, I have my sketch all done here, and I'm just going to start right? And was starting to paint thes thes can see in the right hand side the picture. The strikes were going diagonally, and, uh so I'm going to start with kind of that. It's gonna go right across the neck first, and then we're gonna start going downward pretty quickly. The nets are very, very heavy. And the way this one is sewn, it's going at this angle, Um, and just pulling downwards. So we're gonna have a lot of weight on it, a lot of curving and, um, rippling eso. It's a really interesting sort of pattern, and ah are gonna be working on some texture. So there's gonna be a fun project. So I'm just laying down, um, a lot of the Browns striping that I can see. I'm trying to look at my image often to keep my eye again. It's not gonna be perfect, but even if it's very close, it's going to look a lot like this image. Um, starting in with some blue now Teoh. Um, contrast the brown other. This brown is dry on the right hand side. It can add some darker blue, And, uh, I sped this up. So in between I am drawing my layers so they don't bleed into one another. And here's this really dark, thick, chunky blue stripe going down the side and you could see on the extreme right side. The diagonal goes more extremely down. So that shows the movement of it wrapping around her body as it's kind of hanging down that right side just filling in with blue. And I'm just going to be patiently looking at my AM is looking back at my painting, looking at the image, looking back of my painting, Um, and just painstakingly just sort of just jotting, kind of just painting where I see this color. Now, I'm kind of working on this bottom corner, that sort of, um, wrapping around and down into a point at the bottom. Very dramatic, uh, angle down there and you can see we're starting to fill in a lot of these stripes. Um, and there's this light area there that I want to leave blank. Um, for now, got that one too dark. Don't get too dark and just keep filling in. Get the bottom sort of laid out. Kind of defined the shadow going on in there. And I just want to fill in this skirt now because I don't want to get too far along on the top without feeling more balanced on the bottom half. Ah, and I'm just gonna fill in a brown because there's just a lot of it down there on the skirt portion, which is also in it. It's the same exact knit is just going down instead of across. So, um, I'm starting to kind of dot some of these areas where I want it show some texture, and the the dots create a feel of bumps. And knits are all about lights and darks, ins and outs, bumps going up and down and around uh, especially chunky knit fabrics like this one. There's just a lot of texture. Just get this neck portion all kind of filled in, and I'm just trying to use as much brown as I can, where I see it while I have it on my brush. And then when I switched to the next color, I try to keep that going. So it kind of speeds up the painting process. When I do that instead of trying to go one line at a time and switching brush colors, that would take a lot longer than what what I'm doing. And I got a little too much paint there, so just dabbing it up. And just now, starting Teoh, uh, fill in the richer colors, starting to really ah sharpen and, um, zero in on on getting the colors a little more accurate. Get some blue right in here and the left side and the rights I don't match. So it makes for a very interesting play. Hopes I got a little too much gray there. I don't want to dark second thought, Yeah, maybe I do want it a little dark. This is something you can kind of play around with, Uh, as you go. If you don't like the way something looks, you can change it. You can change it back. That's the fun of these projects. Kind of discovering as you go. I've never done it like this. So it's it's it's really interesting to see how it develops. And here I am dotting that one area that's really, really textured with a little light brown creating some lines and then I'm going to go ahead and just sort of blend them together a little bit, so they lighten and they don't. I'm just gonna dab here. It was a little too dark, but as I'm dabbing, you can see a hint of brown and I'm just gonna spline them just a little bit. So it's not all one color. It's kind of a little bit irregular, and it shows a little bit of texture right there. I would do the same thing down here and you could see in the image. It's kind of a little chunkier right in there. Okay? And now kind of completing that left side is blue texture coming across and down the right hand side, those old dots just picking up where it got too dark and blending that one a little more. That one got a little dark for my taste. It's better. And now I want to do really define the edge. The bottom edge of this, this piece in this corner going downward a little bit too much on the top. There I I keep my paper tell with me next to me all the time because with watercolor, you know there's just a slip of the brush or a flick of the bristle will really, um, send the paint flying. Ah, so it's very easy to do that, so I just keep my brush with me. I rather my paper towel right next to me. Ah, are in my left hand ready to dab at a moments notice before the paint dries. Just capturing some of that striping going down that little tail thing going on the left on the right hand side and putting a little shadow underneath the inside of the cape There now back at the top. So I'm letting these areas dry and then moving to another area. Ah, so I don't oversaturated blunt too much paint and lose the effect. And you can see how the NIT is hanging down this left hand side and pulling downward while the rest of it is going upward around her shoulder. And that shows the weight of that knit and how heavy it is that just gives the illusion that, well, it's actually the reality of how heavy that it is in the image. Ah, but that's how I do it in the, uh, in the illustration. So now really defining that bottom edge. I got a little too dark right in there, So just stopping that up and checking it's a little Yep, that's dry. So I'm gonna go ahead and create my little dab textured areas on the left like I did on the right hand side. I want to bring in some darker, darker brown. So what I'm doing for this Burgundy is I'm putting a really dark brown and then I'm putting just a hint of violet on it like a dark purple, and it's creating this burgundy color that is fantastic. It's kind of popping off the page, so I'm really liking it. Um, and I think it's a good, fair representation of the image color darkening some of my brown's making them a little richer because this nit is pretty saturated with color. I wanted to be, uh, pretty colorful. So now going through and the stripes are much more defined in this skirt, so I've gotten all the brown burgundy ones done with that brown and violet paint. Now I'm going through with the blue and just a little easier because you don't have to separate sections of stripes. Now you have just one going downward in these irregular curly lines to show how, um, kind of knits are not generally perfect. They're generally bumpy and and this one's particularly, um, irregular. Just defining the bottom of that corner, separating it from this skirt, a little dab there and just cleaning up that corner. And now I want to outline. I don't want any micron on this illustration. I want this net to look really soft, right? And micro intends to really sharpened edges. I don't want sharp edges here. It wants soft edges. Um, because that is the epitome of a net. It's soft, and that's another tip that you can use in other illustrations is when you want a softer look. Uh, keep keep the outlines soft. So now the pant leg just finishing up. Now that we've got Thea the Nets mostly done and probably to go back and do some sharpening up. But I'm just filling in that paint color and showing where the folds air going with the darker color and now feeling in her hair. Oops, there was that flick of the brush and I got some brown right where I didn't want it. So just quickly Wedding, dabbing, wedding, dabbing. And that's pretty good. If it shows up in images, I can always ah, lighten it. Ah, with some white, um, paint or marker? What? Not Ah, but anyway, just finishing around those ah, folds in the pant and and painting the shoes Oh, the pan in the back is a little darker since it's got some shadow on its going behind the right leg. You're almost there just sharpening up some of these colors that Yep, that needed to be from a more vivid, so flush tone on here, her ears. I'm just quickly filling in her feature something you that you don't have to dio. I just like a little bit of a face on my illustrations sharpening around her neck area and then once again outlining her pants and shoe just to give you a little more definition down below those air, not knit. So I don't mind a little micron there, and it really helps to contrast the softness of the nit too. So a little bit of blush you got too much blush so again, a little dab will just fix that. Hello? It on her lips. And we're good to go. This is our completed painting. Thanks for watching. I'll see you in the next video. 7. Text Print Dress: I'm doing this. Mu mu. Look. Now it's a text print dress, um, yellow on black. So I'm going to start out just covering my sketch with, um, some dark gray. I wanted to be black, but I want it to be pretty dark. Um, if I make it gray, I'll be able to add darker, great accent to show folds and shadow and stuff like that. So, um, but it'll it'll have that effective looking black. So just covering my entire dress area, being really careful not to cover over the folds too much so I can see them. And I can kind of go back and highlight them. I'm just making it another layer of grey. And again, those were on the right hand on the left hand side is where those folder bulging out. So I want to be careful not to cover over that and miss that detail. And while that's drawing, I'm just gonna color in her red boots one foot in front of the other. This is the typical runway. Ah, a photo position for these models rocking that walking the runway. So almost all of my examples have been in this position just adding another layer red. Okay, so now I can go back and start adding the shadow, too. My black with a little darker, almost black color. So but under her neck is going to be darker. Um, under the bus line on the sides were the sleeves air crinkling around her shoulder. Um, and there's just rolled up feature on the left, just kind of rolled. It's like a rolled up sleeve on the left hand side and just crinkled on the right. Uh, and then around her waist, where the fabric is bunching up as she's taking that step in that right hand leg is going up and pulling down on the bottom of the left right there. So that's where I'm gonna pulling all that crinkle detail down there. So your legs are essentially pulling the dress apart right there, and it's scrunching up on the bottom, left hand side and going upward in the direction that her right leg is going upward. So it all makes sense when you know where all the body parts are and what they're doing capturing him. I'm pretty happy with that that detail a little bit more alright and just adding some flush tone while that paint is drying. Uh, cause we'll be adding a lot of detail. And I needed to be really dry and just, uh, anyone initial color, darkening it a little bit where the shadow is. But we'll be going back over doing a little glazing so that we can add a little more dimension and shadow to her skin tone later on. Okay, and it's a little bit dry, but the tops. I'm gonna go ahead and add that second layer, a flesh tone and under the sleeve. There's a shadow beside her. There's a shadow under her forearms and with my detail brush. I'm taking a very thick. I've just poured out some to paint some bright mustard yellow to paint on, just putting it straight on with my detail brush. And this looks like a lot of lettering on her dress. But really, it's it's It's a few letters, which, with a bunch of symbols that don't it's all gibberish. It doesn't make any, doesn't spell anything out or make any sense. So it's gonna be super easy to to replicate and to, um, create our own version so it doesn't again. It doesn't have to be exact. And now I'm just detail ing the folds, the yellows Just gonna be kind of bumpy right in here. I am just very carefully making the top row of text look as close as I can to what's in the image just because I will go there first. And I am going to distort the text on the left going into this rolled sleeve so it looks like it's disappearing and, uh, kind of folding into the actual fold and then continuing in the second row. And I'm not Why won't be doing as many, um, as many symbols as what's in the image simply because my brushes, it's it's thin. It's just a little chunkier than then. It probably should be. Ah, my gel pen, which I would I really wanted to use on this. Uh, the yellow just didn't show on this black. It was just sort of absorbing into the paint. So, um, this was my alternative. And it's not ideal, but but that's OK. I think that's part of art. Is taking what you can and doing your best with it. And so I wouldn't be ah at all concerned if you don't have the exact are perfect, um, tools or pain or what not. Just use what you have and do the best you can with it, and you'll be surprised at how much fun that is and just working my way down the front. And I love these repetitive projects. It's a great opportunity to turn some music on and just get lost in it, and I'm just gonna start speeding some of this up. Uh, I don't torture you through the whole process. But as they moved to the right, I'm going to start, uh, encountering some more folds. So that's where again I'm going to start dotting, crimping, altering the way the pattern looks to look like it's wrapping around the folds, getting lost in the folds, getting cut off by the folds. All that sort of stuff makes it look realistic. And you'll also notice I'm taking the thes rose and I'm going upward to show the movement of the right leg going forward. So it's sort of wrapping around that leg as it goes around the body and following the line of the fabric movement, and I'm just adding some detail to the boots, adding the little grey. Um, looks like a for around the top of the boot lamb. Well, lamb? Well, I can't really tell exactly, but it's kind of curly and textured and just filling in her hair and my crowning in her face. So on this one, I had the look of sunglasses on this look and sunglasses there. So much easier than drawing eyes because sunglasses are a regular item that you could just draw with basic lines and fill in S. O. That made this one a little bit easier on me and just trying in the shape of her face and adding some micron detail to the boots, giving a little definition little shading as well. Some buckles and bows and things on this boot, that air kind of kind of a fun. Some fun details to add. Just addicts were shading feeling and sunglasses, getting a little color to her face. Show some shading. Splendid. All that end and just going back and doing a little glazing on her skin tone a little over board there, stopping that up. And that concludes the text print painting of the Mu mu dress. I hope you enjoyed this one and just fixing one final mistake on her skin tone. And I am done with this one. Look forward to see you in the next video. 8. Thank You!: thanks for joining me in this class. I really enjoyed sharing my tips and tricks with you. Don't forget, I created a Pinterest board for you guys, and I hope you find just the right inspiration to create your project. If you do that, you can go into your project page and click the prompts. If you have any questions, go to my community section where I also post continual updates. And I would be so grateful for your review so I can keep improving my classes. For now, I hope you grab your tools, find just the right inspiration and get to sketching and painting to create your own fashion illustration and how to paint fabric prints and three D stay tuned for the bonus video coming up next bye for now. 9. Bonus Video :