Mixed Media Couture Tangles - Mixing Procreate with Watercolor | Heidi Cogdill | Skillshare

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Mixed Media Couture Tangles - Mixing Procreate with Watercolor

teacher avatar Heidi Cogdill, Writer and Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 46m)
    • 1. Introduction

    • 2. Procreate Basics

    • 3. Draw Fashion Figure

    • 4. Watercolor Marks

    • 5. Doodle Marks

    • 6. Reference Photos

    • 7. Project 1

    • 8. Project 2

    • 9. Project 3

    • 10. Your Class Project

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About This Class

Combining the world of fashion with doodle art, Couture Tangles will take you on an imaginative, playful drawing journey mixing digital and analog to create fun and whimsical illustrations.


In this class I'll break down each step of the illustration process into individual lessons then I'll walk you through 3 projects so you'll get a chance to see all the steps in action.

Lesson 1: I'll share the basics Procreate functions we'll be using in class

Lesson 2: How to find reference photos

Lesson 3: How to draw a fashion figure

Lesson 4: How to make and edit watercolor marks

Lesson 5: Practice doodle worksheets

Lesson 6: Project 1 Couture Tangle

Lesson 7: Project 2 Couture Tangle

Lesson 8: Project 3 Couture Tangle timelapse

Lesson 9: Your project

I've also included three exclusive printable/downloadable worksheets that you can use in this class. You'll be able to download them as images and insert them into Procreate to use as practice sheets where you can warm up, learn new doodles and play with Procreate Brushes. I'm also including a PDF version for those who would like to print the worksheets and practice on paper. There's also a PNG file with bunch of watercolor marks you are free to use in your illustrations.


This class will be done almost entirely with the iPad and the Procreate app, however, you can follow along and create these illustrations 100% analog if you want.

Materials You Will Need


Here's a general list of supplies you'll need to complete this class's assignment. I want to stress that the brand of paper and paints does not matter, so use whatever you have on hand.

  • Watercolor Paper (I'm using Canson Cold Press Watercolor Paper -140 lb) 9"x12"
  • Watercolor Paints (Use whatever you have on hand. I'm using Jane Davenport Paints and Windsor Newton
  • Paint Brush - large and small (I'm using a large size 24, and Princeton size 6)
  • Jar of Fresh Water
  • Paper Towels
  • iPad
  • Apple Pencil
  • Procreate App

I've created a Pinterest Board with lots of reference photos, so feel free to jump over there to see all the beautiful photos.




Meet Your Teacher

Teacher Profile Image

Heidi Cogdill

Writer and Artist


Hello! I'm Heidi Cogdill, a Writer, Artist and Teacher. 

I live on the beautiful Oregon Coast. I spend my days drinking too much tea and hiding the chocolate…from myself.

I can't wait to share all the fun projects and techniques I've created over the years. 

You can always visit me at my website, Heidi Cogdill

Also, come meet me over on Instagram, where I share all the latest updates.


See full profile

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1. Introduction: Hello. I'm Heidi Cogdell, an artist and a writer living on the Oregon coast. Do you remember this entangle craze? Did you love to spend hours creating free, flowing and detailed patterns? I know I did. At the same time, I was really into fashion illustration and began to combine these two. I called them couture tangles. I shared a few of my drawings on Pinterest, and then I forgot about them. A couple years later, I was contacted by a publisher and asked if I wanted to contribute to a fashion tingling book. Fashion tangling came out near the end of the doodling craze, but I was lucky enough to have my artwork included in two tangling books. Michael Tour Tangles took a back seat for a while, but recently, with the ability to mix digital with analog, I've been drawing them again. But this time I'm using watercolor marks over digital couture tangle illustrations, and that's what I'm gonna teach you to do in this class. For this class, you're going to need watercolor paper and water colors. You don't need anything fancy. Just whatever you've got on hand, you'll also need an iPad, an apple pencil and the procreate. This class will focus on a combination of digital and analog, but these illustrations can be done 100% analog if you want. In this class, you learn how to draw a fashion figure, but I'll also be providing to fashion figures that you can work from. I'll be providing practice worksheets that you can use to warm up your hand, as well as to practice making marks and playing with doodle designs and procreate brushes. I'll show you how to find reference photos to use as inspiration and how to analyze those photos for body positioning and how the dress falls and flows with the body. I'll walk you through making watercolor marks and how to edit out the background in procreate. Then you'll take everything that you learned and create. Three different could tour tangles in each example project. I'll take you step by step from sketching Teoh, inking toe, adding water color. So grab your watercolors and your iPad and let's get tangling 2. Procreate Basics: There are so many wonderful procreate classes that are available on skill share, so I'm not going to go into a ton of detail about procreate. But I'm going to show you the basic things that will be using in the class in case you're a newbie and pokriots kind of new to you. This might help you kind of navigate through some of the lessons that will be doing. So when you want to create a new canvas, you want to go up to the upper right hand corner and click on the plus sign. Now you can set up a new canvas, which is upper in the upper right hand corner. There's a little black plus sign up here, and if you click on that, it will give you a custom canvas, and you can set up all the parameters that you want. So in the class we use, typically an eight by 10 or 8/2 by 11 and with 300 d p. I. So you can working pixels or inches I usually just set up in just depends on what I'm I'm working in. And so we were type in 8.5 by 11 and with a 300 d p. I. Now, when we set up those settings, you'll see that the maximum layers that will be available for this canvas is going to be 59 layers. If you want to adjust color profiles or your time lapse attains or anything about the background colors and all that, you can do that over here under these tabs. So once you have everything set up, you can also then title your canvas and then hit, create, and it will open up the canvas that you want to work in. Procreate can dio. But underneath the range we're going to be using underneath the ad tab, we're going to be using insert photo quite a bit and this Will they pull up your camera roll? You can also take a photo or add text. The other thing that will be using is ah, we can use the cut feature and then under share. When we're completing our fashion illustrations, we're actually going Teoh um, we can save them as a J peg and then also when we're working with the watercolor marks and we're cleaning up the background, we wanna have a transparent background, and so we'll be saving these as a PNG, and you'll do that underneath the share Tabas. Well, the other thing that will be using quite often in the class is the selection tool, and that's by clicking on this Little s in the upper left hand corner, so the automatic is it's going to grab. Let me show. You will insert this watercolor marks that I created that I just took a photograph on in the backyard. And once you've inserted an image, the transform tool is selected and whether it's free form uniform now, because if the positioning is weird, you can always rotate by 45 degrees. Or you can flip vertically or horizontally now that you haven't positioned the way that you want. One of the tips that I share in the lesson is how to do a crop with your transform tool, and the way that you do this is you will actually slide your image over and anything that's hanging out over the white canvas. So see how these marching answer kind of out here on the left. When you turn off the transform tool, anything that's outside of the campus, it's going to be cropped off. So if you turn off the transform tool and they turn it back on and you move your image over that's been cropped now, the other way of cropping is you can use your selection tool and freehand around it or the other thing is, with your selection tool, you can use a wrote a rectangle and create the selection. And if you drag three fingers down on the screen, you'll get some options. You can either cut, copy, copy all cut and paste or copy and paste, and for this you could actually cut and paste. And now you'll see that it's actually moved it to a different layer and left the rest of the image behind. And then, at this point, you could just delete that background transform tool allows you to drag up and distort in lots of different ways, and you can uniform so that the image stays in proportion or with free form. It allows you to just adjust specific sides. The other thing that will use in class is how to remove the backgrounds, and we'll go over this in detail in that lesson, but with your selection tool. If you hit the automatic tab and then you click on the white section is going to highlight and select that area in order to remove the background completely. So we have a transparent background. You can use the range and cut, and it will remove it. Or you can do the three finger drag, and then you can cut that way as well. So if you turn on your background layer over here under your layers panel and change it to black, you'll see the areas of this layer that didn't get removed during the selection process, and you can come in here with an eraser I typically will be using in the class a airbrush, which is the round hard, and you can clean up your left over lines as much as you want. Now I talk about this a lot during the class, But for this particular type of illustration and the way that we use these watercolor marks , I don't really need to have a perfectly clean background. And the reason is because this particular technique really lends itself to having really rough edges and Thea bility, too, change and alter the blending modes and that really will affect how things look. So if we turn off the background now, we have our watercolor marks with the transparent background, and we can use the's in our illustrations. And so once the background is cleared, we want to go back to the wrench and under the share tab and select PNG, and that's going to save that image with that transparent background. Any of the other file modes aren't going to allow you to have a transparent background, the background layer again. So in this class I'm going to be predominantly using the procreate pencil underneath the sketching brushes, and I just like it cause it has a really nice let's get a new layer. I like it because it has a very nice pencil effects to it, and I just really pervert for sketching, and you can use any pencil line that you really like. And then, for my inking layers, I use the technical pen. A few times in the class will be using the blending brush, and for that I typically use the soft brush and as the eraser I you typically will leave it as ah, hard round brush for these, another tool that will be using in this class quite a bit is actually layer masks, and that allows you to work non destructively. So when we use watercolor marks in the later part of the tour tangle illustrations, you can erase away the watercolor mark in the areas that you don't want. And the problem with that is, if you go later on to want to duplicate a layer or two, adjust something and move things around like let's say you have legs that are showing through the folds of the skirt. If you erase away where the illustration is overlapping that watercolor mark, then if you decide you need to move something or duplicate something, you have that cut out there. Where is when you use a layer mask? If you're using it non destructively, then when you duplicate that the layer is whole, the actual watercolor mark has remained intact, so the way that will do that is with your layers selected. If you tap on it, you'll get another toolbar toolbox that will open up and you'll use the mask. And so once it attaches this layer mask, you'll notice that the black is color is selected and you can use any brush you want. You can use something really textured or something clean. It's totally up to you. And when you come in over your illustrate or over your watercolor mark, when you paint on top of it, it's erasing it. As soon as you turn the layer mask off, the watercolor mark is still intact. Like I said, if there's any more that you really want to learn about procreate, if pro creates new to you, there's so many wonderful classes here on skill share that can get you into further into depths about this software and how wonderful that is. But these air the basics that will be using in this class. So I hope that helps jump into the next lesson and let's get started. 3. Draw Fashion Figure: I've given you to fashion figures that you can use to draw your tour tangles. But for those of you who are interested in learning how to draw your own, I'll walk you through my process and procreate. Select the plus sign in the upper right hand corner to open a new canvas. I'll be sketching over the fashion figure template. You can download this in the project. In Resource is section of the class starting with the head. I begin by making a circle. Next, I'll make a mark where I want the chin to be. Then I'll draw two lines down from the circles on each side to define the shape of the face and the jawline. These can be a square or around it, as you like, then draw the draw lines to connect to the chin. Former accurate, proportioned faces. You would want to keep the ears higher on the head like I did it on the left side. Or you could make them smaller and more rounded and place them low on the face, like the one I've done on the right. Great trick for keeping your ears looking. The same is to use the selection tool to trace the year and then copy and pasted. So you do this by selecting the S icon in the upper left select freehand from the tool box at the bottom. We'll trace around the year and then with your three fingers dragged down on the screen and select copy and paste. The ear will copy to another layer, and then, using your transform, you'll want to flip it horizontally on the tool bar at the bottom. And then you can move the year in place, and you'll just need to rotate it as needed. Let's merge that year down to combine, and we can do that by selecting the layer panel captain later that you want to get the toolbar open up and select. Merge down. Now you have one sketch layer again moving on to this shoulders. I like to start by deciding how the shoulders air going to slant if you look at how someone stands and I'll be showing you later how to look at a fashion model and for inspiration for positions. But I want the shoulders to be mostly Ford facing, but one of the shoulders is going to be higher than the other because I know that my fashion girl is going to be kicking her leg forward, which will be twisting her hips and therefore one of her shoulders will swing up. Here's the basic angle of the shoulders. From there I drawn oval shape to give me the depth and the width of the shoulders. A straight line alone doesn't give me the depth that I like to see when I'm building out the body shape. So using over here immediately gives that body form. I've added the necklines, and if you draw a small oval inside the neck, it adds a form that I was talking about with his shoulders just switching gears for a second. I'm going toe actually change your reading and show you how the basic shape of the body, um, can be adjusted by just changing the position of the shoulders, the waste on the hips, drawing a line at the shoulders, one of the waste and one of the hips. You can see how the lines angle to give the girl movement. Now you can stack these lines right on top of each other and make them perfectly straight, and this would obviously give more of a standing straight forward position. If you connect all these lines, you'll see that it's kind of like a box shape. And by adding ovals inside of this inside of the waste and in the hips. And he immediately gave my body a shape. It's beginning to see a form. The box can be drawn whiter or thinner, depending on the shape of the body that you're drawing. Drawing little ovals at the shoulders will give me the size of the arms and offer me a beginning point for the top of the shoulder and where to start from the armpit. This will also keep my arms looking similar now for the shape of the torso. In my fashion figure template, I have her slightly angled to the side, so you see curbside and the shape of her breasts that kind of curves into a slim waist. Depending on how you want your girl positioned, this upper torso can change for the style that I have here. I will draw a short line for the armpit and then a curved line that's going to connect at the waist. It's very similar for drawing the hips, but this time, the arch of this curve is going to come out kind of like an hour glass. So you've got the the chest that tapers into the waste and then from the waist to tape, it arches out to the hips. The elbow should fall at about the waist level when the arms are kind of hanging down at your side. I like to start with a circle where the elbow will sit, then bringing a rounded line off the shoulder and down to the elbow circle. You can do the same thing from the armpit. Then, to draw the forearm, I draw small lying off the elbow to create kind of this curved part of the arm than a second line that will run straight down from the elbow to the wrist. You'll do the same thing with the other arm, but since her hand is on her hip, the elbow is going to be higher and further away from the body. So again, I'm going to take the upper line off that top of the shoulder, and I'm gonna join it at the elbow. Then I'm going to take a line off of her armpit and meet at the other side of the elbow, and then I'll complete the forearm. I don't usually spend a lot of time on their hands because many times they aren't even seen in my final illustration. There's so many ways that hands can be drawn moving on to the legs. I like to divide the hip oval into two ovals. These will act as guys for the thighs, then make a little dash line to show where the crotch line to be and then draw an upside down triangle, which is going to look like little Panies. Starting with the knees draw circle where you think the knee should sit. One thing you'll notice with my fashion figures is that I have drawn them with very long legs. And that's because I like to show part of the legs under the tangled dress. And if I drew the body proportions more accurately, the legs would get lost underneath the skirt, drawing the upper thigh. I'm gonna use the curve of the hip, just guide my line, and I'm gonna come down the outer leg and the inner thigh, and I'm kind of drawing a rounded rectangular shape from the lower part of the leg, make a little mark off the knee, and this is going to give you a starting point to have the curved edge of the calf and then from the knee, you're gonna go straight down to the ankle off the little dash mark you made at the need for the calf line you're going to kind of combat around. It's going to be a gentle rounded, but that lines could be rounded off the calf down toward the ankle. For the other leg, you'll be doing something very similar. You're gonna find where that knee is going to set. Do your little circle for the knee. This is actually going to sit slightly behind that front leg, but this is all going to get removed. Many of the inking line so it's OK that they over cross right now. So draw your rounded rectangular for the upper thigh and then you'll draw the lower calf, Uh, the same way you did the first leg. Just like hands. Feet could be drawn in many different ways, and I've kind of just over the years created this little squiggle that looks like feet with shoes and so you can copy mine or create something of your own. It's totally up to you. Let's talk about the phase. I draw marker lines down the center of the face and then across as well. These will make sure that the eyes, the nose and the mouth are all placed correctly. I like to add a new layer by going to the layer panels and clicking on the plus sign. This way I can add the facial features but also be able to move them around and not have to worry about having to erase around all of the marker lines. And that's how you draw fashion figure. This is just the sketch layer. What you could do if you wanted to draw a really crisp and clean um, fashion figure out from your sketch is you would lower this the capacity of this layer at a new layer on top and then switched to a more inked kind of marker brush. And I like the technical pen. From there. I would just create a really clean Leinart over my sketch layer. Um, I'll speed up the video and you can watch me do that, but there doesn't really need to be much instruction, so I'll just let you watch and I'll meet you back at the end. So now that the fashion figure has been inked, let's move on to the next lesson. 4. Watercolor Marks: creating watercolor marks to use unique Artur tangle. Illustrations are super fun and really simple. You really don't have to have any skill for those. Let's begin with the fund splatter effect. I'm going to be using Canton watercolor cold press paper. It's 100 and £40 an anti nine by 12 with a large brush. I'm going to wet the entire page, depending on how much you want your colors to bleed out. This will depend on how much water you actually add to the page for this one. I want the color to bleed out pretty far, so I'm gonna add quite a bit of water to my page with a very large brush. I'm going to get the brush nice and wet, and I'm gonna load it with lots of color holding it over the page. I just tapped firmly on the brush handle to splatter the paint. I'm working first with a purple and then I'm going to be adding a really pretty yellow. I'm gonna let thes colors just bleed together. So I don't want to rush this. I'm just gonna set this aside and let it dry naturally and then that way, all the water that's on that page is going to really allow those colors to blend together but making watercolor marks. There are really no rules. You're just going to be making tons and tons of Marx circles blobs, flower shapes, lying squiggles. I'm gonna be using a large brush on this one. And one thing I like to do is paint strokes that, like, roughly form skirt shapes these air super easy. And then they lay over the dress really nicely, and then you can later them when it come times to do that later on. And I like to do this with just, like, really sweeping gestures. I'm gonna load up my brush with a lot of water and quite a bit of pigment here so that I can create thes skirts that have these really sweeping motions. - On this third sheet, I'm going to switch to a smaller brush. I like to push hard with my brush to get really rough edges, and also I like to use a dry brush to get tons and tons of texture. So I'm just going to make marks all around my page. Anything that comes to mind, you just never know what kind of marks that you'll need. So just have fun with it. - The next step would be to scan in or to photograph your watercolor. Now, for art is being used to send our directors or for prints, you would need to scan in a really high resolution. But this isn't that type of project. You can just take photos of your watercolors. Photos are gonna work, just grades. In the next step, we're going to clean up the backgrounds of it. But again, these don't have to be perfect. In fact, I prefer them not to be. As I love the rougher edges, it kind of gives a better effect to the illustrations. Once you're watercolor marks have been scanned in or photographed. It's time to edit out the backgrounds when adding water color to your fine ARCA tour tangles. We want them to have clean backgrounds so that we can layer and change the blending modes. Now, with this dark outside border kind of around my photo, I can use a couple different ways to clean this up. But the way I like to do it is actually use the transform tool. So using the arrow in the upper left hand corner. I'm going to slide the image to the left and then turn off the transform tool and then I'm going to turn it back on and then slide it down, turn it off. Turn this transform tool back on, slide it to the right, turn it off. Repeat on each side because the way that procreate works is when you turn the transform tool off the portion of the image that's left outside of the white canvas is actually going to be cropped off. So you want to make sure that you're careful with this, that when you turn off, you're transform tool. Whenever you're editing anything, if it's outside of the canvas area, it is going to be cropped. But the advantage is that it gives you the chance to kind of give you this really clean cropping tool to remove the background. We're going to use the selection tool. Click on the S in the upper left hand corner and make sure that your bottom toolbar has automatic selected Click on the white areas that you want to remove, and then you can hit your range tool and use the cut feature. There or you can use the three finger swipe and then cut out the background. That way, you can use your eraser tool to clean up anything that you don't want that didn't get taken out during your first selection. If you go to your layers panel and change your background color to black, you also will get a chance to see all of the things that were left behind. And you can do any cleanup with your racer tool at that point. If there's something that you want to get rid of, to be able to use thes files later, we need to make sure that we turn the background off and then we're gonna be savings to click on the wrench and we're going to share and we're going to save as a PNG file. We wanted to keep the transparent background with the next image. I'm going to use the transform tool again to remove the side areas by sliding them across the page in order to get clean edges. A second way to remove the background issues a selection tool. But instead of using automatic, we're going to select FREEHAND. This will give you the ability to trace around an area that you want to clean up because the she is a grouping of watercolor marks. I won't be using the entire page on one illustration, so I like to separate them so that I can use them one at a time. Using the free hand selection tool and moving them on to their own layers will allow me to do that. As I finished tracing around this watercolor mark, I want to make sure that my marching aunt line actually touches and closes. And then I can copy and pace it if I want to keep the original artwork intact or I can cut and paste to its own layer. Then I turn off the the main layer, and I work on cleaning up just the area that I pasted. I can use a combination of the automatic selection tool or the eraser tool as I kind of clean up the rest of this white areas that were left inside of this watercolor mark. So just a reminder. Don't forget to turn off your backgrounds and to save your files as a PNG so that the transparent background stays and let's move on to the next Listen 5. Doodle Marks: I've created four practice worst cheeks for you. These can be downloaded from the projects, and the resource is section. The 1st 2 worksheets are for practice making strokes from these basic strokes you can create. Almost any doodle the's put together can create flowers, vines, shapes and patterns. I like to start each drawing session by warming at my hand, and these worksheets are great for doing that. I like to try out different brushes, a swell, and that will help me get a feel for how that they'll work in the line trucks they're going to give if you are new to procreate. A great feature is when you are drawing a line if you don't lift off right away, but instead hold it into plays. The line will auto straighten itself. Here I am trying different brushes to get a feel for how they look. Uh, they'll give rough edges thinner, thicker. Um, the harder I press, the thicker the line will get so I can have a different lying with throughout while I draw . So use these worksheets to give yourself a chance to just play with the brushes and the line strobes and to kind of get a sense for the things that you like, so that when you're in the middle of drawing a tangled illustration that you can use all kinds of different brushes to get the fields and the effects that you want, I like to practice drawing my lines opposite of what I normally dio. Um, it's a muscle memory when we're used to drawing from left to right or top to bottom. Instead, I'll go from bottom to top or from right to left, or I'll even draw my circles and my arches the opposite way. So like a counterclockwise. When drawing tangles, I find that I have to draw in many different directions and practicing on these words sheikhs has really helped that dexterity. On the second practice work, she will be practicing swirls and circles, and I even added a couple of leaves and a butterfly. You can trace them over and over again. Try different brushes, even try free drawing. Some of your own thes practice sheets are for you just to warm up your hand and get a chance to play with your brushes, so just have a play with it. These last two worksheets I've created lots of doodles for you to practice, or you can just use these directly in your illustrations. Just copy them and put them all together and create a design these air here for you to play with for you to design a different line. Thickness is at patterns and doodles inside the leaves or inside pedals. You can work out your ideas on these sheets. It's really a great place to play around. I'm going to speed up the video again, and you can wash me play with different ideas that I have. There's really just hunts and tons of option. - Now that you've had a chance to play with your doodle sheets, I'd like to talk a little bit about how I use the doodles. Why use the doodles and kind of go over how I use them to recreate the dresses or the gowns , especially in the skirt area? Because this is where I really like to use the doodles, too. Either create volume or a fold, or to show an area that might be in a shadow. So let's go over these techniques that I use, and we'll kind of just play with our fashion figure I'm just going to come in to procreate , and I'm going to just use an 8.5 by 11 sheets and insert my fashion figure. And I think I'll just use the one on the left. So with my transform to alarm, I'm just gonna slide this over and then turn it off. And I could do the same thing. He'd been down here, removed that logo, I'm gonna add a new layer, and I'm just gonna work with under sketching brushes. I'm gonna use the procreate pencil, which is what I use in the class the entire time. So the first thing I like to do is kind of get an idea of of reference photo. And by using the reference photos, you're gonna be able to see how address hangs, flows with movement. And if I want to be able to replicate the way that that looks, I'm going to look for tangles and doodles that I can use that are going to kind of create that same effect. So let's zoom into this dress and I'm just gonna turn on a red ink so that you can see over this. We're gonna duplicate this dress on our fashion figure. So the bodice has kind of these triangular shapes. Now, if you look at them right away, I say, OK, those have very similar shapes to leaves, so maybe I'll use a leaf shaped doodle over the bodice. And obviously it's gonna have a spaghetti strap, and you can keep that or do something different. You can embellish that as you go. It has a high waist, and even with these folds here, I can duplicate them in my leaf pattern. OK, moving on to the skirt. The skirt flows out a top here because she's holding on to it now. That's kind of a sheer area, and then the skirt, the main part of the skirt, flows out. But you'll notice that the heaviest draping is right here in the center. Okay, and then here's the way that these fold in what kind of arches or kind of curves out. And then this is actually a fold, and that's actually one here, too. Looks like, and there's some actually layers beneath, so there's a lot of draping going on in the front part. Okay, so let's turn off the reference photo. We take the dress and roughly just kind of put it on the body of our fashion figure. We can decide. Do we like the length of that? Do we want Fuller? And if we slipped the free form in our transform, weaken, drag this dress out to kind of fit the body of our fashion figures, if we want to be able to replicate a similar look with our tangles, we need to look for tangles that are going to give us a similar feel. So what I would do is I like the idea of having leaves. Let's turn this player down a passing. Why? So I can draw on top of them and add a new layer? And I'm just gonna change colors so that when I'm drawing, I know the difference between my layers. Okay, so here's the shape of my fashion figure. So I like the idea of this leave shape happening up on the bodice, and I'm just sketching this one doesn't have to be perfect. I'm just giving myself the ideas is like as they come to me. So here's basic leaves and I'm gonna add the's little straps and then we're gonna have a high waist because the skirts gonna flow out from underneath. So then, when I look at my let's say the doodle examples thes worksheets that I've given, I'm gonna look for the doodles that are going to kind of help create that look. And so what I want to be able to do is this area is gonna appear sin and sheer, and so is these panels down here. So anything that I dio out there, I'm gonna probably use things that are leafy and viney, um, maybe even things that have long vines but heavy flowers so that once it meets in an area somewhere, you know, I can add these kind of heavier flower looks. So all of these vine, even all of these with all of the leaves and anything like this would look really good on those long drapey but more wispy looks. Whereas in the center here, where it's thicker and more condensed, I'm either going to lay things that are a little bit sicker. See these here, or I might actually create an area here. Let me switch colors so you can see this really clearly student orange. So if I were to kind of separate out this area because this is that heavy draped area. I could fill this in with flowers that, especially the more condensed they are, is going to create a heavier feel more condensed closer together, more shadow. These are the types of doodles that I would use to add that heavier fabric to look thicker last year. Anything that's going to come, let's go back to the purples, anything that's gonna be positioned up here, where this was all that really thin, wispy drapes. This is where I'm gonna want to have on Lee Really wispy sort of doodles, things like this, right? So let's turn that off and then we'll begin kind of putting some of these things together and just see what we end up with, okay? And even when you're let's say you're confused about the shape of something, let's say you looking and you're like, you know, I want my leave to look like this. You don't have to use the entire doodle that I've put together. You could just use a leaf. Let's say up here for these ties, you could say, you know what I want. I want that leaf look. And so you're going to duplicate that leaf there. Right? So you don't have to use the entire thing. And I wanted to use the leaf as the bodice, but you could use I don't know. Let's say you could use just the pedal so you could come in and create the same shape. But with just a pedal was a little wide. It turned that 1st 1 off. See how you can. You can just start to build out these fashion tangles just by even just using pieces of the doodles that I've shown you as examples. Okay, that's one example. Oops. Turn this. I didn't layer. I'm just kind of playing just so that you can see you're gonna see me build a full illustration. There's three of them that I'm gonna show you later on in the class. This one for right now I'm just showing you different ideas about putting doodles together . So another thing that you could do is say that you Oops. Say that you really like, you know, a flower. You know, one of these or something you can duplicate that. You know, let's say you've got a strapless gown, and here's that upper bodice. You could. And now you don't even have to stop at the line. Let's get rid of this lot upper line. It could be really pretty. I would probably put the center of the flower just underneath the breast area. Or you could even go really low on the torso and then just, like, make thes like super long like that. But you don't even have to make the gown have an actual upper line you could use. You could use the line for the you could use the shape of the flower to actually create that upper bodice. Now, I'm kind of mixing my lines around here cause I'm just sketching at this point, and when I go in with my inking layer, this is when I would be able to clean any of this stuff up. So see, we've used essentially the top part of that flower time, and then you just so there's just about you. Just keep building off of this. Look, if we turn that layer back on so we can kind of use as an example, let's say we wanted to create this wispy look here so I could do that with, like, let's say, something like this. So off of this bodice, right? I'm gonna create these loops and twirls, and it will act as let's turn those off seat and see under there See how it already is giving it the same vibe that we got in the picture. And we've only drawn a couple of lines. And the other thing that you can dio is when you come back in and again, normally all come in and put the basic sketch out. But once I would If I come back in, I might say, you know, this is too thin here, so I'm actually going to thicken that lineup, right? So I'd find different ways in areas that I might want to thicken it. And then when I am actually doing the line, are the ink layer. I would feel all this in and you'd see this sales already giving it depth. And then you can add flowers off of these or, you know, you could your little twirls and sketches and lines and arches. All of those congest act as binds. You can come back in and add leaves to them circles. I mean, there's so many different things that you can dio. Okay, So, like, let's say we thickened up this area and I'm just moving kind of quickly. Just so you can kind of see what you can dio. Sorry. Movie my I Taurel and rotate my canvas quite a bit when I draw. Hopefully that's not giving you any sort of to the EC. Okay, Okay, let's turn those doodle layers back on. And now, if I was going to do something in the center to add Thicke, Dre Peas, let's say I went with something like this. Okay, so then as I came off the end, I might have that drape and then usually, like you could you could force your your, um you're leaves to go up, which is going to change the vibe of something. Or you could dry your leaves going down right? Which is that's going to change the way that it looks like things flow. So I like to use the way that the direction of the doodle specially the leaves and anything that's flowing I like to use that as a way to show the movement of the fabric. So I would just keep sketching these leaves in right. See how that now, because those there's more condensed leaves and doodles closer together that's going to create a thickening. So that looks like the fabric. A sticker there. The other thing that I do like to do and you'll see me do this in one of the class projects is I actually fill in this area with flowers. Sometimes we'll just find a flower that I really like. I don't know. Let's say something like that and I will come in and I just draw them really close to each other all on top of each other, and that's going to create a very sickening of that fabric is gonna look very condensed. So it's gonna create a heavier look where that fabric is thicker and draped mawr because of the way that it falls in that reference photo. Because she's standings kind of still Andi, she's more or less pulling the fabric up. Where is where you're getting the wisps in the thinner on the side. So there's It's the gravity that's pulling and pulling it thicker, and that's draping heavier there. So I'm gonna use the doodles to help me to create that same book, and you could use the same flower over and over again. You could intermix flowers if you want and group them all together. There's loss of different things that you could dio, but by keeping them really close together right away, you can get a sense. If I turn everything off, you can see. See how Justin, the little bit that I've already done. It's already showing that it's a lighter, thinner whisp e er on the outside, and it's thicker and draped heavier in the middle. So when you're drawing, you're couture tangles. You definitely don't even have to follow the reference photos. You can just start making things up. And whether you're working with here, let's move our girl so we can see a little bit better transforming. Move her over and I'm just gonna add a new layer. So when you're creating or designing out your toward gowns, you could give her Ah, high neckline, you know, kind of give her this, come off the shoulders and give her a kind of a tank top. Look, you could even go tight and keep her in a pencil skirt. That would be really interesting. What kind of doodles could you use to duplicate very form fitted dress. That's one you could have V knack and maybe just 34 sleeves. I mean, the possibilities are endless. It's just anything any style that you've seen, you can recreate them. Let's say we make this like a little belly shirt so weak groups make that much smaller. So let's erase this line here. Now we've got her in this little belly skirt, our little belly shirt, and then we'll give her a skirt. Let's say you weaken. So what doodles could you use to fill in that gown or that outfit? And I like to draw the big flowy gowns just because it gives me a chance to really play with all of the, you know, different vines, everything I love the skirts that air just, you know, out here and flowing all over the place, because when you come in later on with your watercolor, having that watercolor splash and kind of create these amazing textures is just what adds to the beauty of these thesis illustrations. So that is really how you put them together. It's it's really just about analyzing the style of the dress that you're looking for and finding the type of doodles that are going to work with it and to help you to create that look and that feel it's something that's very intuitive because, like I said before, you don't have to use an entire doodle. Maybe you'll only want to use relying. You know, maybe you only want to use the center of this flower. Let's say something like this, you know, and you won't even use any of that over there. Maybe you like this shape and you'll forget the rest of this. Maybe you like this shape. So it's just really about combining them and checking out shaves. I'll use this particular right here. Look a lot. I don't always add in all of these other arches. I love to use this, and I use this and one other projects that will show you a little in the one of the later lessons. I use that on the bodice. I like to use this kind of at the end of some of my vines, so it's really just a very intuitive thing. Just let yourself play. And that's why I have drawn these fashion figures. Just standing mostly forward. You know, you could do them on side profile and even from the back. Um, and I keep the face of simple and the hands and the feet really simple. You can draw on more detailed hands, more detailed shoes you could get as as detailed as you want. But I love the way that these doodles and these tangles just creates such a vivid, um, moving illustration. And I keep the rest of it pretty simple as faras. How you put yours together. Just let yourself play. Add in lipstick color. Add in cheek color. You can color your illustration and entirely you can fill in the skin tone and hair color you can add in full facial features. Really, really, really. Just let yourself play with us. That's the beauty of this start simple. Have some that are really simple, and some will get super intricate and there's tons of stuff going on. Just let yourself play. If I can encourage anything else during this entire classes, just be free to play. There's something so therapeutic and freeing, Um, and what a great stress reliever is to just sit and let yourself play in doodle and and draw your fashion figures. If you want. But if you don't just allow yourself to just sketch over the one that I have given you, and it just gives you the ability to just play and create, and you can use the same five watercolors you know, the watercolor marshy make less that you've only created. Five. You could use those for every illustration by changing the colors. And you can do that by coming up to your adjustment layers and changing the hue and saturation or even your color balance. You can adjust colors. You can alter the blending modes and how you layer them. There's so many ways you could literally create hundreds of drawings just with these doodle marks I've given you and the watercolor marks. So just play and have fun. So go into the next lesson and let's move on to the next thing because pretty soon you're gonna be creating your own couture tangles and just having a blast. You can download these in their project in resource is section of the class. If you haven't done so already, 6. Reference Photos: when creating these couture tangle illustrations. It's a good idea to check out reference photos for body positions and how address flows from a moving form. I've created a Pinterest board with beautiful photos to help inspire you, but feel free to explore Pinterest for further inspiration. I've linked my Pinterest boards so that you will get a chance. Teoh. See all these pictures that I have saved their. When I'm looking for a reference photo, I'm looking for how the dress flows, even though I'm using tangles to draw the dress. I want to get a sense of movement. So let's look at this photo for an example. Even though she has her back to the camera. I like the way that her arms are out at her sides, grasping the dress the way that the dresses swirling around her gives me ideas of how vines and flowers can recreate the shape in the flow of this photo. So let's take a look at another one here. She's got her arms closer to her body, but she's still holding the dress out, which is creating a fanning out effect. This position, with her legs peeking through the folds, is something that we can recreate in our illustrations. All of these images are going toe offer ideas of positions for the body and the limbs, but also for the way that the fabric will flow, how certain movements are going to cause changes in the way that the fabric drapes on the body. These are all things that we can recreate when selecting the types of tangles that we choose to use in our illustrations. 7. Project 1: for Project one. Let's start by opening a new canvas, and you can do that by clicking on the plus sign in the upper right hand corner. You can work on any size canvas that you want. I like to work on an 8.5 by 11 canvas with a 300 d p I You can do this by clicking on the little black plus sign in the upper right hand corner. Change it two inches and it's an 8.5 wide by 11 high and a 300 d p I and then you can name it whatever you want, and I'm just gonna name it could tour tangle. That way we can use it repeatedly. So to add our fashion figure outline, you want to go up into the upper left hand and click on the range and then insert a photo and grab the file from the camera roll or wherever you have saved it. I'm only gonna need one. So I'm going to use that quick crop technique by using the transform tool to slide the image to the right, turn off the transform and then turn it back on and move the cropped image back to the center of the canvas. Let's turn down the opacity by clicking on the layers panel and selecting the image layer. Using the opacity slighter toe. Lower the brightness just a bit, but at a new layer for our sketch layer and click and drag it to the top above the fashion figure layer for the sketch layer. I'm going to use the procreate pencil brush. I'm going to be using a red color to sketch out the flow of the gown. Sometimes this will work right away, and other times I will play with the lines until I get the basic shape in the movement that I want. Now I'm sketching a basic folds and how this would look so that when I add in the tangles later on, I can incorporate as much of the folds and movement as possible. Now that the gown shape is there, I'm going to insert the doodle sheet that I created for this class and will be using them to give us ideas on how to lay out the tangles. So I'm going to click on the wrench again and in sort of photo. I'll then shrink their size and put them to the side of the drawing just so that I can use them as a reference in my early sketch of the skirt part of the dress I forgot to add in the bottle. So let's do that now. I'm going to lower the opacity of the gown sketch and select a slightly darker red for this layer. I'm just going to simplify the gown shave just a bit now, looking at this doodle sheets that I inserted, I'm going toe. Look for a series of doodles that I think will look good together as well. Aziz shapes because I want to find doodles that I think can recreate the gown that I had kind of sketched out on the first layer. I like how the flower cluster has this long arches, which will kind of give the shape of the folds in the front of the gown, and you'll see him actually using this doodle right here as a reference for the one that I drew in the center of the skirt. I like the idea of keeping the folds a big part of the design, so I'm going to use vines for the other folds, and I like how the center flower also adds kind of a pattern, and the vines on each side add shape and the flow, but that they don't compete with that centre flower. So I'm using a vine as the reference from this doodle sheet, so I'm gonna try adding little circles to the top edge of the dress. I like to keep this dress a bit symmetrical, so I'm going to add circles on this side, and then I'll I'll add that again on the other side. I like to bounce around, um, adding and deleting kind of trying out things. That's the nice part of working digitally. And it's not the same when you're working an analog because you end up having to erase a lot and try things but a song as you sketch lightly enough, you can do it. I really like the bodice as is, so I'm really just gonna draw it in the way that it is. I'm not going to mess with it. Now that I have the basic structure forming, I'm going to begin to build off what's there moving back to the vines. Let's add a few more doodles in order to define the folds, I'm going to have to fill in this area. And I've chosen to use the scallop doodle because I'm keeping the artist small and tight together is going to act as a shading. So this area will be darker going back to my reference doodles. I see a part of this doodle that I like. So I'm going to replicate just this part along the bottom hem. - I'm going to keep this illustration fairly simple, so I think I'm going to stop there. The next step will be to create a clean, inked layer for this. We need to lower the opacity of the sketch layer, and I'm gonna change my brush to the technical pen and select a black color. I'm going to speed up the video as I think this layer and I'll meet you back when I'm finished. Once you've finished your thinking, you can turn off the sketch layer. I'm gonna leave the fashion figure sketch on just for a little while. Let's draw in the eyelashes. You can add as much or as little of the facial features as you desire. I feel in the eyelashes and then a little upside down curve for the nose. Now for the mouth. I mark out the corners of the mouth, and then I feel in the center and fill in the lower and the upper lip. I switched to a blending tool. I'm using the soft airbrush as the blending brush, and I'm going to begin to blend out the black to fill in the lips. And once I'm done, I will go back and redefine the center and the corners as needed. As for the hair, I like to add another layer. I like to do this because as I play with hair, I don't want to mess with the face that I've already drawn. Plus, once the hair is drawn the way that I like, I could easily erase any of the head that needs to be taken away. I like to draw the bangs sweeping across the face and obscuring the other I. Now that the illustration is mostly done, it's time to go back over my doodles and see where I want to add any additional lines or patterns for this one. I'm gonna go fairly conservative and just kind of add in to make it look mawr detailed and a little bit more depth to it. Nothing crazy on this one, but you go and add as many lines and patterns as you want. - Now that a chance to look at the entire illustration, I think I'm gonna go back and redraw the hairlines. The lines were all the same thickness, and it's making it look kind of flat. So I'm using a bigger brush and I'm changing the lines a little bit and just making it look thicker. Once I've got it redrawn, I can delete the other hairlines. And this is another reason why I like to draw on multiple layers, because now that I have another layer of here that I like, I can erase the previous hairlines really easily. Now it's time to add the water color layer. This is when the real fun begins. You're going. Take all the watercolor remarks that you made and apply them over your illustrations for convenience. I've put all my watercolor marks on one page and saved it as a PNG. This will allow me to select and move the marks that I want without having to open a bunch of different files. Normally I open them individually, but for the convenience of this class, I've just put them on one page. You can do this also, or you could just insert them one image at a time. It's totally up to you. Now that I've got a couple of different ones open, it's time to play. I do this by using the selection tool to trace around the watercolor mark that I want and then copy and paste or cut and paste by dragging my three fingers down on the screen, using the transform tool I can then move it into place. Since this layer is sitting on top of the line art layer, I'm going to change the bloody mode to multiply. You do that by clicking on the letter n on the layer and selecting which mode that you want going back to my watercolor marks layer. I'm going to select another mark and copy and paste it or cut and paste. It depends on whether or not you want to leave your original artwork for additional copies later on. So I'm going to use the transform tool to enlarge and stretch out the watercolor mark until I like the way that it looks. I was hoping this mark would fill in more of the dress. So instead of going to rotate it to fill in the side area and then I'm going to copy it to fill it in on the other side. Then I'm going to change the bloody modes to multiply and merge the layers by clicking on the layer and then selecting Merge down with the eraser and I'm using the round airbrush. I'm going to erase the watercolor that is outside the top edge of the dress for some illustrations. I'll leave the watercolor marks as is, but this is a bit much for this one. So I'm going to erase away these marks. You can always use a clipping mask if you want to work non destructively returning to the first layer. I'm going to play with the different blending modes so I can see what kind of effect that I could get. I like the way that the soft light looks, so I'm going to leave it like that for now. So I'm looking for something to fill in the bodice. And I really like this blue watercolor mark down here, so I'm gonna use the selection tool to cut and paste it and then transform tool to put it over the bodice area. From there, I'm going to change the blending mode and I'm going to select Multiply. Then I'm gonna use my eraser tool to clean up the edges. Let's see what else we can find. This mark could add some interesting texture over the bodice again, it's nice to just play around with the blending modes and get a sense of what the different effects are. So I think I'm gonna go with the screen mode on this one. Take the splatter watercolor marks here, and I'm actually going to use the whole thing. So I'm just gonna drag the entire image over the dress. Remember, you can flip and rotate the image to which ever direction that will work for your illustration. I'm gonna rotate this and then I'm actually gonna change the blending mode again. And I like the way it looks. I'm gonna duplicate that layer and rotated to fit to the other side of the dress because I like this effect so much, I'm actually gonna repeat it and copy and duplicated on the upper sides of the dress as well. Remember that I put the scallop doodle into the folds. But now, with all the colors in this dress, I'm thinking that I need to find a dark watercolor mark to add over this fold. I think this purple is really gonna work. So I'm just gonna copy and duplicate it over that. And then I'm gonna go back in with my eraser tool, and I'm just going to clean it up. - I've got these funds, circle marks. Let's add them to the dresses. Well, sometimes you might think that it's getting to be too much, but I like to try lots of things to see what the effect is. I'll play with the positioning, the blending modes and even adjusting the opacity. Now, as I play with this, I just keep going until I see something that I like an effect that I like, and because I like it, I'm actually gonna duplicated onto the other side and just kind of go from there. So I think that's it. I really like how the colors and the texture look, The fools actually complement the bodice really, really well. So I think I'm really happy with this. So to save your going to click on the wrench under the share tab and select a JPEG and that's it, you're all done. I'll see you in the next project. 8. Project 2: for project to already have my dress shape done and the doodle mark work she's already inserted. I can see how the dress is flowing, so I'm going to look at the doodles to see which ones I want to try to incorporate in this illustration. After you've done a few of these, you'll see how each illustration looks different just based on the doodle marks that you choose to add for this one. I want to incorporate lots of flowers and long, sweeping vines. - Now that I've selected a handful of doodles, I'm going to go back to my sketch and add a new layer. Keeping in mind the doodles that I've chosen, I'm actually going to draw in lines that I think will help me replicate the flow of the dress. I'm going to go with a strapless bodice, so I'm gonna draw that in using the doodles. I don't have to draw the entire doodle each time. I really like this flower head, so I'm going to use this over the bodice. - So as I jump around and adding the doodles to this dress, I'm just gonna turn on some music and you can just watch me as I create the sketch layer. - So now that the sketch layer is done, you lower the opacity and begin the ink in layer. I'll be using the technical pen again. Now I'm gonna turn on music again and you can watch me. UM, Inc. This illustration. If not you can always jump to the end when we start adding the water color layer moving on to the water color layer. Now I've inserted a couple different watercolor remarked pages. This time I'll turn all the ones off that I don't need, and I'll start by working with the's circles. I'm using the selection tool to trace and then copy and paste them onto their own layer. I like the idea of using them over the bodice, so I'm going to be changing the blending modes and shrinking and kind of putting them into plays. - Now I can rotate them to take advantage of specific areas of the color inside the circle because it's a watercolor. There's going to be kind of Grady ants effects, so I'm I like certain areas better than others, and then once they're into position, I can just use the eraser tool to clean up any of the outside edges. - Now for the skirt turning on another watercolor earlier, I'm going to select this mark here. Let's copy and paste it or cut and paste it and then turn the other layer or the other part of the layer off using the transform tool. I'm going to move this into place now, by changing it to free form, I can actually drag the watercolor mark into a position that I want. This time I'm going to use a layer mask so that I can work non destructively. I may want to bring back some of this layer later on. So if you go to your layers panel, click on the layer and then select mask the mask layer will appear above your current layer . I'm going to remove the areas that I don't want showing by just painting over it. I like to zoom out once in a while to make sure that I don't remove too much. I want this layer to be textured and a bit jagged, so I'm being really careful. Um, for what I'm removing, I'm gonna turn on another watermark layer, and I need to make sure that this one is actually above the current layer that I was on this guy earlier because the blending modes are going to effect the layer beneath it, it's gonna play off the color beneath it. And so far, that was the only later that I had. So if I kept underneath, it would just play off the white background. So moving it above allows it to play off the purple skirt. Now, I'm just gonna play with a bit lending modes again and see which effect that I like. I think I'm gonna go with the soft light, turning on another layer, all moved this into place and then adjust the blending modes again. Remember to play with the opacity as well. A mode might be overwhelming, but once you lower that a passage e, it might actually be the exact texture and color that you want. - I really like thes exes. So I'm going Teoh cut and paste them onto a new layer, and I'm actually gonna put them over the bodice. And then I'm gonna play with the blending modes until I find a look that I like. Okay, so I'm gonna go with multiply, and then I'm just gonna use the layer mask to remove out any unwanted, um, areas outside of the BIOS. So with all the remaining watercolor marks, I just keep doing this. I copy and paste them to their own layer. And then I play with the blending modes and capacities until I get what I like. So now I'm just kind of playing around and see what else Aiken Dio. I decided to duplicate the full skirt layer and drag up higher on the layer panel and again by changing the layer mold to multiply and then add a layer master move any unwanted areas . This is just allowing me to play and to see how it looks. And and because I had this up above and I shortened it a little bit, it actually created almost like, um, a double layered skirt. So, like the areas of higher, it looks darker, and the the area that's down low looks almost like it's a sheer kind of fabric. So the more you play with these layers and blending modes, the more you're going to start to see different effects and difference looks that you just can't really envision until you start playing with it. and that's that's the beauty of this particular type of technique. - It can be really fun. Teoh, um, actually add color over the lips or even the cheeks or into the hair. So here, I'm actually gonna add a couple of different piggy colors over the lips. And I'm doing this on a separate, um, on a separate layer. And then I'm going to change again the bloody modes and see how it effects the, um, layer underneath. And it's kind of just very, very subtle, but it and ends up adding a really cool effect. Now the last thing I need to do is I actually want the legs to show through the dress. I want them to look like they're peeking out through the folds of the skirt. So because thes couple layers have been put over the skin, I need to actually go back over and erase away the watercolor marks that are blocking over the legs. So there's two layers that are doing that, so I'm going to erase away at that particular one, and then I'll do it again to the 2nd 1 You can also use a layer mask at this point so that you don't actually erase away the water color. You can, Actually, in case you ever want to go back in and shift and move things around. If you erase it, that part's gone. So you can always do a layer mask here, too. And that's what I'm doing. And it will allow you Teoh work non destructively. Okay, now that we've completed project to ah, we have 1/3 project that we can work on, and it's just gonna be a really quick time lapse so you can see me create 11 last good tour tangle before you start to create your own, I'll see in the next lesson. 9. Project 3: for the third project. It's really just going to be me playing a time lapse of me creating this Laska Tor Tangle illustration. I hope by now that you've had a chance to create a couple couture tingles, um, of your own. Or that you've just fall along with the two that I've created and the next video we'll go over your class project. But for now, enjoy this time lapse of this couture tingle, and I can't wait to see what you guys create of your own. 10. Your Class Project: for your class project, you'll be creating a tour tangle. Fashion illustration. I'd like you to follow the steps outlined in the projects that I created here in these lessons. First, you're going to create watercolor marks and then scan and photo or photograph them. Using the fashion figure. Sketch out your own dress shape and then using the doodle marks the design and filling your dress ink and then apply your watercolor layers when you finish your illustration. I hope you'll come to the project in Resource Is Section and share your completed illustration with us. Just click on the Create your project and input all the information and add your images and then click publish. I really can't wait to see what you've created. If you guys have any questions, please let me know I'm here to help.