Pattern Ladies: Designing Vintage Characters | M. Stephanie Murray | Skillshare

Pattern Ladies: Designing Vintage Characters

M. Stephanie Murray, Making art, looking at art.

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10 Lessons (1h 13m)
    • 1. Let's Make Pattern Ladies!

      1:52
    • 2. What You Need

      0:38
    • 3. Let's Get Inspired!

      3:00
    • 4. Let's Sketch!

      10:48
    • 5. Let's Ink!

      11:56
    • 6. Let's Color! Part 1

      10:31
    • 7. Let's Color! Part 2

      14:18
    • 8. Let's Add Texture and Background!

      16:34
    • 9. Let's Upload to POD!

      1:31
    • 10. You Made a Paper Lady!

      1:29

About This Class

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In this class, you'll create your own vintage illustration that you can use on cards, stickers, and swag! Using Procreate on the iPad, you'll explore your personal artistic style using vintage illustrations as inspiration for your own character illustration.

Using vintage pattern illustrations as inspiration and reference, we’ll build on those images to develop your own unique spin on a recognizable style. Working with the Procreate app for iPad, you’ll learn how to sketch, refine, ink, and color your illustration. Then we’ll add texture and depth with clipping masks, text, and brushes. 

I’m including figure templates you can use as paper dolls to create the basic form of your figure, and 3 texture brushes to create clothing and background patterns. 

Whether you’re a seasoned sketcher or starting fresh with figure drawing, I’ll show you how to bring your style into a new form. No experience is required, but an iPad, Procreate, and an Apple pencil is helpful. Or you can work in the medium you prefer!

 

Transcripts

1. Let's Make Pattern Ladies!: that duty Don't got Eddie. Not till Teoh. Hi, I'm Steph Murray. I'm an artist, illustrator and educator, and I'm obsessed with pattern ladies. That is the mid century illustrations that were found on sewing pattern envelopes there really simple and really stylized. And they're a great foundation for making your own vintage character designs. In this class, you'll make your own vintage character design based on those pattern ladies will research. The images will design and sketch an ink and color and texture Rise them, and at the end you'll have your own fulling character design that you can put on prince or cards or bags and other kinds of swag for you and your loved ones. We'll be working on the iPad using the procreate app and the apple pencil. Uh, this is an intermediate class, so you should know your way around procreate. But you don't have to have any experience with figure drawing. I'll provide you with templates for assembling your pattern lady as well as texture brushes for adding those details of the I found that pattern. Ladies helped me find my style, and I hope that will work for you, too, I hope along the way that you'll post your progress. You'll post your inspiration photos, your sketches, your your texture and color tests so that we can see what happens as we try and develop a style. I call this ugly practice and it's showing off. All of the awkward stages are work goes through along the way. Eso that we recognize that nothing comes out fully formed and everything is a work of vision and revision. So whether you're a seasoned sketcher or fresh to figure drawing, I look forward to seeing what you mean. 2. What You Need: so they get started. You're going to need on iPad. You're going to need the app procreate, and you're going to need some kind of stylists or even your finger. I'm using the apple pencil, which gives you a little more flexibility in the kinds of things you could do with it. But even if you're following along on pencil and paper, this works as well. I'm providing you with links to download the texture brushes and the templates. They're going to be found in the project section. If you're looking at skill share on a Web browser, so I'll meet you in the next video. We'll we'll start to look at some reference photos and inspiration on Pinterest. I'll meet you over there, Clinton. 3. Let's Get Inspired!: So let's get started. First. Let's do a little bit of research into what are pattern ladies might look like I have on interest aboard that's called pattern illustration, where I've saved a number of images from sewing pattern envelopes. They are, as you can see, fairly similar in the kinds of poses and the kind of art style used for them. They're nice to look at to get a sense of what kinds of expressions you might have on your pattern Lady's face, the kinds of whether you want her facing forward or backwards. If you want her seated or standing, I usually do standing and what to do with those arms Arms are always difficult to figure out what to do with even when you're a pattern lady. I also have shoes and hats and further down some gloves. Gloves are actually a really easy way to manage hands because hands are troublesome to draw sometimes and gloves lost over some of those problems. So what I would recommend now is that we take a look at some of our pattern ladies, choose some that we like take a screenshot, will come back to them for reference. S I'm going to pick her. And like this pink dress, sometimes it's useful to turn your iPad so that you get a full length. So what's happening with the feet and take that as a screenshot in the return? Teoh. I like my horizontal layout. Uhm, and now I'm looking at some hair and getting a sense. Oh, she's like her face, and I like her little red jacket, so it's a picture of her. And once you have a sense of what kinds of pattering ladies you want to use as your reference could do, some with braids, some with flats there's our gloves again. Just give you a sense of how gloves fit just about everywhere on, and you can decide if you're thinking Mawr 19 fifties If you're thinking more 19 forties if you're thinking mawr Uh, 19 sixties if you want pants if you want dresses. If you want evening gowns, there's a wide variety. If you want pants and dresses together, there's a wide variety of images on styles that you can work with here. Think about how you might adjust these figures to do something new with, um, all right now that we have some images save to our camera, roll on our ipads, let's move on over to procreate and start sketching 4. Let's Sketch!: right now. Once we're back in procreate, we can start ourselves a new canvas. I usually aim for around 4000 by 4000 pixels. Again, this has a lot to do with what you want to use it for after you're done. But 4000 by 4000 gives you enough layers to work with. This gives me 28 layers, which is not huge, but it is. It is enough to get it done. Uh, if you like to work on more layers, go ahead and scale that down to 3000 by 3000. Sometimes I do my pattern ladies in the nine by 12 format inches wise, so it's more of a portrait style. But the square is nice because it's useful in a number of different applications later on. Uh, also, this is a good time to download the, uh, template pack if you haven't already. This is where I've given you a bunch of arms and feet and faces and hair and all of these air on separate layers so you can turn on and off and go in with your freehand selection tool and just go ahead and grab the face that you like. So if there's one that you like, go ahead and take her, grab her copy and take that over to our working document. So once we're here, if you want to start with your face that we just saved will make her a little bit bigger and put her off to the sides Will come back to her in a minute, and we're going to go and take a look at the photos that we just saved from interest. So I'm gonna bring these all in here and then decide which ones I want to work with. Uh, And then the last one, the one with the nifty red outfit. I think I like her the best, but put her off to the site. And what you can do is make these larger so that you can see what they look like on before canvas. Ah, and then start to make some decisions about who we want to see. Um, I like her face and maybe her glove. So whoa, I'm gonna turn off that layer, maybe come back to it and I'm gonna I think I'm sticking with that red lady like I like her . So once you have thes. Once you've decided on who you're going to sketch, there are two ways to go about this. So one is to take her opacity way down, get yourself a black pencil. I'm just using the Derwent pencil that comes native to the procreate app. I'm giving myself a new layer above my my pattern lady picture. And I'm just going to do a really rough trace around her just to get the proportions the way I want them to be. I'm not even gonna worry too much about her collar, cause I'm gonna come back and decide if I want that collar. If I want something else often these will go off the edge of the image and you just have toe make up what goes there. Um, but this is really nice if you're a little anxious or unsure about how you're going to deal with hands or certain limbs again, those hands on And this is just really rough and really just a outline. Um, this is where I struggle. I always have a problem with legs. So getting those legs in place, especially the's forward facing feet on, and then this is one aspect of these images that's really worth noting is that these shoes are always very stylized and very pointy. Sometimes you'll get ones with a rounded toe, but that hell is always very sharp. And sometimes, like I said, the images get cut off. But when she's way down at the end heart image. So let's take both of these, move them up slightly so that we could fill in the bottom of that foot on. And that's where you just carry on with what you think is there. That's awfully long, and we'll come back with color to six that now this is where you could take your face that we copied from the templates and make it fit what we're doing here. So let's see if we flip her horizontally so that she fits a little bit better. We can pull her end together about the right size line up those eyes. She's gonna have a point, your chin. But I'm good with that on. Drop her in now. You can either leave that there, um, and make it part of your pencil sketch layer, or you can trace over it. I'm gonna pull it up to be right underneath lie pencil sketch layer and then and then emerge them down so that they're both on the same layer now. And that means I can go in now on that layer and just sketch out the fake the hair. Figure out if that's the hair I'm gonna want. I feel like it's gonna need to be a little bit bigger to go with a slightly more dramatic face. So that's one way of doing it. Another option is I'm going to turn off my pencil sketch and bring the opacity back up on my inserted image of my red pattern Lady, is that you can screw her over to the side by selecting and scooting. And then if you're more confident with your figure drawing, this is a good place that you can practice that. So I've made a new layer. I'm still on my black ink and still using my Derwent pencil and most figure drawing. I'm during a circle around her head, and then I'm gonna select it and slide it over here. So most figure drawing assumes that the human body is about eight heads high. That is the size of the head stacked on top of each other eight times gives you the human body that's close to what these figures are. Uh, most fashion illustration goes with nine or 10 heads high. So it's, um, or exaggerated figure. But we're gonna go with about nine heads high. So the easiest way to make that happen is just to duplicate and merge down. You're layers. So those air two heads high. Now we've got foreheads high, burge down, duplicate eight heads high. So, as you can see, our lady is slightly smaller than that. Um, and I drew her head a little big, but we can do that. We can erase that last head and basically then used this Merge it down. So it's all in one layer as our template for figuring out where all of her pieces go. So with this in place and again, you can drop the opacity on it and make a new layer on top. This is where if your heads here, her chin is going to wind up about here. Her next goes down to the shoulder, start right in the mid middle. Watson middle right in the top. I'm gonna call that third of the second circle, then her bus mine, which is where we're gonna have a little flare outward happens in the middle of that circle . Her waist is aligned with just about the top third of the third circle. So we know we're gonna be coming in shoulders air here. Her elbows are roughly where her waist is. So that's where we're gonna have a turn, and then her hips will come out This level. Men, things happen. And we get down the knees, knees er down here. So we're gonna bring the skirt down this far and then, as I said, legs are my bane. So we're just gonna pretend this is a leg and that this leg comes down here, it comes out like this. So this gives you your rough outline for where all the pieces of your pattern Lee will go. You can refine this, uh, by dropping in those hands and arms. She's got a crop jacket. So that jacket is gonna if you include that that's gonna come just above her waist. And here again, is our skirt line in her hair. This is nice. If you want to really improvise and come up with their own hairstyles, maybe She's got a giant who fought. Um, maybe she's wearing a ball cap she shouldn't be worrying about. Maybe she's got a giant Rifaat. Maybe she's got longer hair with a flip on the end, like we saw in some of those other, uh, in like we saw in some of those other images. This is also where you can start to figure out if you want her facing forward or have more of this. Not quite 3/4 maybe 3/8 view like we have honor here. She's got some very big guys. That's nice. Those in it's looking a little skewed on. And all of this is just to sort of get things in place I've given her. I have a beard. Here is I tried to work out that chin, but we can go back in and fix those. So once you have your sketch, whether it's from the free hand figures, um, using her as reference or if it's are more traced out version it was missing a hand. Uh, whichever one you want to move forward with, Um, let's start with her and I'll meet you on the in the next video to talk about thinking 5. Let's Ink!: got any? Not now that we have our sketch. We're going to move into the thinking process. So I'm going to turn off my original picture. I'm going to go to my sketch layer and drop the opacity on it. That's my other sketch. Later, let's go to this one and drop the opacity on it Now for thinking I like to use something that has a little bit of texture to it. Now. This may not fit with your approach, and you may want something that's more flat, and that's where you can use the flat mono I've adjusted the monoline brush that's found under the calligraphy category in pro creates native brushes. Dry ink is also in that category, and that's the one that I'm going to be using here. So we'll make a new layer on top of this one, and we'll go in and start refining. That's much too big. Start refighting what are pattern lady is going to look like. What I'm trying to do here is make sure that all of my lines are connected so that when we do our color in the next video, everything's going to have a discreet shape that we can go in and select and fill from there if we choose to. I also work a little more slowly and carefully in this, whereas the sketch is very fast and loose because I want to just get the overall shape here . I'm making some choices about how pointy do I want her chin? How do I want that collar? They're still. Or do I want to exclude that and have, ah, simpler coat that she's wearing her top is going to be a lot simpler in this one. I'm also coming down along this shoulder and I'm thinking about previously I forgot Teoh include her hand when I was doing my pencil sketch. And now that I think about it looking at her overall, the seems a very static pose. She's got one leg kicked out, which gives a movement to the bottom of her skirt. But this arm arrangement, I think I could do something more interesting with it. So what I'm gonna do is go out to our pattern ladies template, turn on just my arms by touching and holding and then thinking about what I might want to do with that arm. And I think I like this kind of gesture up, and then maybe she could be holding something. So what I'm gonna do is go in here with my selection tool. Freehand outline. The one I want Copy. I use a four finger tap to do the copy. Yours is by default. Going to be a three finger tap that you can reset that in your settings. Then we'll go back out toe are working Document for finger tap and paste. Oh, took everything all right. That's fine. We can work with that. So this came in on the new layer, The inserted image. So what I'm gonna do is the same thing is before just freehand select. This time, I'll just do coffee and paste That puts not a new layer, will turn off all the arms and can come back to this one will select it with the direct selection tool and get give it to fit right. It's fairly large. Comparison would see if we line it up with that one. Now looks belt right. So from here, I'll drop that opacity to match and will come back up here in a race. That first arm. All right, Now that we have that arm in place will go back to our sketch layer. I'm actually gonna drag this all the way to the top, so I remember where it is. I am terrible about naming my layers. I don't do that properly. I really should. If you are more organized, you should definitely do that. So now I'm gonna go back in, make this arm part of what we're doing. So one of the things all note while I'm just working through the sketch is that I am a serial crafter. I have tried and abandoned just about every kind of craft you can think of. And a couple of years ago, I decided that my newest one was going to be drawing. So I decided that I learned how to draw, and I sat down with a ton of YouTube videos and skill share classes and actually learned a lot about drawing and color and the different techniques I did pencil and paper. I did watercolor and wash, but it wasn't until I landed on digital art that suddenly it clicked for me on all the things that I had previously worried about and here because we're not gonna have that same jacket as in a reference photo. I'm pulling in her waist a little bit earlier. So one of the things that I noticed in working on working digitally was that I didn't out think myself in the way that I previously had. You know this experience, you may know this experience of working on paper, and if you're working in pencil feeling the need to go back in a race, every mistake you make if you're working on pen feeling that kind of dread that you have made a mistake or that you will make a mistake and letting that stop you and again, we're bringing this in further because the jacket is not going to be cropped there and feeling that dread that something will happen and you'll be unhappy with your piece. That didn't happen for me in digital. It did it first. And then I realized that I could do this and undo that that quickly that the only thing that I have spent is time, and if I can dedicate time to the work, then I'm going to get something out of it. Whether or not my piece at the end is what I want it to be. So what I found in working on digital art was a sense of play, a sense of freedom and a sense of what is the opposite of perfectionism. That I could do anything and it would be fine, right? That there was nobody judging me, not even myself. And giving myself that gift of freedom from judgment made such a difference that I've been able to maintain that drawing practice, making something almost every day for the past at least two years. Um, and my plan is to continue on. So if you only get one thing out of this class if you don't go on to make more pattern, ladies, if you decide that my drawing style and my teaching style is not for you, I do hope that you take that away, that finding a sense of play in your work is so important in order to maintain your commitment to it and to be nice to yourself, let up on yourself a little bit. You're doing a great job, whatever it is that you're doing. So that's my little pep talk for you, sort of hidden in our thinking class, and we're just about done with her legs. Now I'm making the shoes separate here because we're gonna go with in color those separately. If I wanted her to have, say, a belt, this would be a good time to add that I think I'm gonna give her. They need to dio x leave on this side as well. I think I'm gonna give her just in all in one cote here, I think I'm gonna give her just a dress. So I need to put in some kind of neckline. Think maybe something a little asymmetrical. So it's also providing a little more movement up at the top there, and then we'll go in and do her face. So this is my favorite part to put in these features now, depending on what your If you already have a style, if you've done faces before and you have an idea of what you want your face to look like, this is the place to drop that in. I really like this slightly cartoony, but not too much. Look where there's sort of a realistic I and I'll show you in the next section when we do coloring how to make that look a little more realistic. But if you tend to do, you know, a much more cartoony I maybe something like this and have her looking off to the side. You could do that. If you do something that's bigger and rounder, you could do that here. There are a lot of different eyes that you could drop in here. I'm going to stick with this more that I said, Realistic. Um, although there's awful lot of eyeliner on these. I do like to draw their eyeliner on, and we'll get her a nice thick mine, something to define the bottom with and then inside. We just want to make sure that we have a little area blocked off for people. And in the coloring, this will become a lot more apparent kind of adjuster at the nose. Then a little trick for defining the mouth is to mimic this. I call it the lip tent. I think that has a different name. Officially mimic the lip tint in the line of mind that separates the lips and that tints toe give you, uh, more consistent and realistic now. So let's turn off our sketch layers. I seem to have given her kind of Star Wars Star Trek uniform. I'm okay with that. All right, so that's our inked piece. Go back and and refined any pieces that we want here. Like I said, I might have her holding something a little bit later, but for right now, I'm happy with her. All right. Well, if you are done with your inking now, uh, I'll meet you over in the next video. 6. Let's Color! Part 1: Dio, let's do some coloring first, I'm gonna go in and clean up some of my layers that we don't need. I'm going to keep This is our original. I'm gonna keep her around because I'd like to go back in and maybe refer to that for some colors. But the rest of the is that we don't need I'm getting rid of everything except our inked e ink drawing. So from here, the first thing we want to do is think about color palettes. So this is another place that we can go looking at Pinterest and see what we have there. So I have a board called Color Ways and Pallets Inspiration Board. You can go with something that's more of the era, so you could look at something mid century, or you could do something that's really current and bright. Maybe these pastels maybe thes spring 20 color trends, which I'm actually kind of leaning toward because there's that read that we already have in our reference photo. So I think I think I'm gonna pull this one. I'm not gonna use all these colors, but I think having them is going to be really useful. Um This is a much too big image. So I'm just gonna screenshot this whole page and pull what I need into procreate. So from here, I will add photo that we just took and just drag it over here to cut off the side and drag it down to cut off the bottom. And then I tend to just resize Sorry, and park it in the corner. And if you again are more organized than I am, you could make this into a brand new color palette. Uh, if you have to be in the big one to make a new one, But we can set a new default, drag this out to be a floating menu, and from here we can just color, pick and add color, pick and add. I'm going, Teoh, I can't title it here, but you can do that again any more organized way. And like I said, I'm not gonna use all these colors. I'm probably gonna pick three or so to use as my primary palette, um, and then use different hues within them, uh, as well as different levels of saturation and brightness. And so we'll play with the color wheel, which is my favorite, um, as we move along, so first thing we do is we need a new layer to start coloring. Now I place this underneath my my ink player so that I can see my lines regardless of what I'm doing with my colors. This is a place where we need to think about how we want our colors to fill the shapes that we're working on. So let me show you what I mean. If we go to our inked layer, click automatic selection and select her legs, for example, and then go back to our working layer, we will select something like a skin tone. Let's pick that one. Now. If I just drag, it will fill the entire shape, turn off our selection. But what it does is it doesn't fill. Wriggled lines are. So if I turn off the sketch, you'll see that there is an outline. This is even more parent when you do it when things are next to each other. So let's say we fill her arms that must not be closed. We feel her arms on her skin layer, and then we go back and fill. This is a lot of moving between layers, which I'm fine with, That you might find tedious. So there may be a better way for you to do this. Then if we do a separate layer for the color of her dress, we dropped those in together. Then if we turn off our scar in player, you'll see that there is a gap between those two. And our edges are a little bit ragged because we outlined in the dry ink pen. So this is not ideal. You could go in and fix this up. If this is a look you like, or if you're planning on having that black outline, remain as part of your finished piece. Now, if we look at our original, there is a black outline that remains So that's a look that you condemn finitely go with. I like toe. Have all of this happen with color? I like all the definition toe happen with the color. So what I'm going to do instead is basically just color in. So I'm gonna clear this layer. I like her skin to be a fill like that. A nice flat Phil. So I'm gonna go make sure on my ink layer that I have. This is not quite closed, and that's why it flooded the entire area. So now that I fixed that, I can select and go to my skin layer hit my color again in drag. So now I have her arms and legs on a separate layer. I'm gonna go in and just color her dress. So I still like this red, and I'm gonna use Let's try a couple different looks. So palette knife gives a really nice texture, and then you can go back over it. I think it's the color on that. Red is not quite what I want with that, though. So let's see what the nickel role. Oh, how this pretty, All right. And that gives me a good deal of control. So let me make sure I'm on the right layer and I'm just gonna color, so this way I can go right to the edge and make sure that I'm eating the filled layer. If you go over, that's fine, too. We can come in and race a little bit there. She looks nice. So I'm gonna come in. I'm gonna turn off my sketch. You can see it's kind of a mess down here, but we can fix that. It's what I'm gonna dio is come back in to fill in thes extra bits and then I'm gonna go over it with a really sharp eraser. This is you find my flat mono is gonna be really excellent for this. So the flat mono eraser turned down so that we can get into those really tight curves, making sure that we're not taking this up too high to reveal that border. I do want this corner to be sharper because that's she's starting to look like a pattern lady. Okay, so for shoes, I like to go with something really high contrast. I like this orange. I'm gonna go and fill that in again on the layer beneath our sketch layer so I can see what I'm doing. I think for this I'm gonna go with that dry ink because I want a little more control to make sure that I'm kidding all the places I want. And here's a place where you can go slightly outside that original sketch and that will make sure that it fills that you get everything filled inside there. This is a place where you could drag and drop again once you have this outlined in your shoe color. I like the texture that took me a long time to get used. Teoh Ah, one. The things that I was immediately drawn to in digital art was how clean and sharp and precise it looked on. And it wasn't until I had worked with it for quite a while that I realized that one of the beautiful things you can do in digital art is create these textures that are really appealing that not just mimic textures that you see in the real world and in real drawings . But you could do a lot with, um, within the digital medium and play with them. And again, it's that sense of play that I'm really, really happy that I was able Teoh, come to, uh, this is gonna look a little bit messy because I'm gonna layer the change of my layers a little bit as I do this. So I'm gonna bring my now I brought my skin on top of my shoe layer. So that way the shoe can kind of fade into the edge of the shoot kind of fade into the foot , and I'm gonna go over here and fill in those last little pieces where I didn't get it the first time. Uh, but yeah, coming to embrace the sort of roughness that's possible in digital art, Um, that to kind of a mental shift. And it took a lot of looking at artists who were doing work that I found really appealing on studying what it was that they were doing with texture. 7. Let's Color! Part 2: All right, now, we've just got head to you. So I'm going to put her her neck underneath her dress so that it fills in properly. Go back to my original color. This is a place where I'm gonna use that flat mano to get a really crisp outline so that we don't have any ragged edges, and I'm going to outline her no matter what it looks like down here Address. I'm gonna outline her neck separately from her face because we're gonna do a little something shading wise down here. So having a separate layer for neck and face will make sense in just a minute. And now I'm dio her face again. It doesn't have to be quite perfect back because we're gonna come in here and do like I said something with her neck because her hair is gonna go on top of this. And I'm just gonna rough in her hair again. A new layer that's on top of her face layer. And since she's in her Star Trek uniform, you think I want this? I'm doing with the rough edge dry ink brush to do the outlines of them Actually, just gonna drop fill with it because I'm going to go in and add more texture to her hair. So as long as the outlines are ah, little rough, a little textured I'm gonna feel OK about doing a flat civil in the middle. Now, in between face and hair, head and hair, we do the face. So this is where I'm gonna go in. I'm going to take this purple and go to our beloved color palette and just pull it down a little bit because I want her eyebrows to be just a shade darker than her hair. I'm also gonna bring down the schedule capacity quite a bit so that I can see what I'm doing in here. And I'm using the rough brush again on her eyebrows. I'm gonna switch this out in just a moment so that we need a very smooth line on her eyes now, many of the flat mono for her eyeliner and her eyes beauty mark there apparently, and coming real close Now. This is where you have to bring your brush size way down. This is now at do 2%. It's it's very small, but it gives you the control. Uh, which I like. And as you can see as we're really pulled in here, there's a lot of pixel ization even on this flat mono brushed and that's OK. That's OK, because when we zoom out like this, she's fine. So because we're working in a in a raster situation of the pixel based drawing app here, you're always going to have some of this pixel ization right as you come in close. But as you move back, it's fine. If it's something that really bothers you, then you have two options. One is you can work much larger, like if I had drawn her head to be, you know, the size of my screen. To begin with, I wouldn't have this kind of pixel ization. Um, or you can work in the vector program so you could work in, um, affinity for iPad, you could work in adobe fresco, which has vector layers available. I just feel like you don't get quite the same Dutilleux feel to it. It's really good for certain applications, but not necessarily for all of them. Um, all right now I need to choose her eye color, so I'm gonna go with this purple and swing my color wheel around to see what I get over on the green side. That looks pretty fantastic. So we're just gonna dio her iris? This'll color. This is another place where you could drop a layer in underneath it so that you're not coloring over my black here. I'm not super concerned that the way I'm gonna do a bottom layer for the whites of her eyes to make sure that we get a nice, crisp line and color underneath it, she's gonna wind up looking like a Romney when I think I'm okay with that. A little bit of Star Trek fan art. I didn't know you're getting the pattern, Ladies, did you? Um, so on top of the skin and below the eyes, we need one more layer. And what we're gonna do with that is get something close to skin color. So we're gonna go back to the skin color and then to the disk and just slide this over to the very light edge. We don't want pure white, but we want something that's in line with the skin color were using because what we're doing here is we're drawing in the whites of her eyes Just color drop for that and you can see the difference, right? It just makes that I pop. Ah, little And we do this for her other eye. Drop that in. And again if you've done a different feel to the eyes, you may have a different Phil or you may have no Phil, And that's something we're playing around with to get a sense of what your style looks like as you're doing these kinds of eyes. Now we're gonna come back. Teoh are features layer basically and again Get that white color and just got damn! Just come down one or two circles with and that's gonna give us our shadow color that we could do her nostrils in this little defining line. Her nose. Once we have that, then we get to do the lips and this is Let me see. I think I'm gonna go with super bright red here, and I know I see now that I have a little bit of cleaning up to do on the side, that's fine. We do all of it and then drop of Filkin, then come in with that darker red or even just taking this bright red and coming down that will give us this in between color. Now if we had done an open mouth pose, which some of some of the pattern later ladies, some of the references that we looked at did have an open mouth pose. This is where you would go in to that layer where we did be I the white of the eyes and just too white for the team. Sometimes it's useful to drop in a little bit of black as well, or at least a darker shade to shadow if the mouth is open. But on the whole, just giving the little hint of teeth and there is enough. All right, so now we've got a face. I like how she looks now. Now that we've turned off the sketch layer, you can see that the the alienation between her chin and her neck is just not there, right. It's all one flat color, so that's a place that we need to go in and do a little bit of shading. And this is why I put the neck on a separate layer from the head. So using again this slightly darker skin color, in fact, that's baby, she will come up just a little bit lighter. We'll go in above the neck layer below the head layer and just dio a line shadow. This is where I start shoveling and want to move. My I've had in different directions within the trying keep it straight so I don't So it doesn't look strange on your screen and we'll just wasn't closed up duty Don't closed right now when we turn off top layer, see that there's a lot. Now you can see the difference between her head and her neck. Now, we do have a little bit to clean up here on. This is because we drew the head of top of it. So if we go into her head layer with our racer, we can fix this. Come in, clean up. What's happening here? Sometimes it's just takes a little bit of fiddling going back and forth between the two layers so that we get of really nice line that you I think what I'm gonna do here is still in this piece of her head. Her chin comes down a little bit farther. History. Find that line and go back to our shadow layer that color and things just line. Fill it right here. Right. So there we have a very nice no. Uh, like I said, I was going to fix her hands a little bit. And one of the things I want to do is drop in the's shadows to define her hands, her fingers and places where, like, the elbow here. So again, I'm using a very small monoline brush. I've made a new layer on top of the limbs layer, and I'm just gonna go in. And we have some of these minds already here so we can go slightly larger, fill in this language like her thumb, just her thumb, and then fingers this finger. We're gonna come back to that finger. Um, her elbow right here. And the same thing over here. It looks awful clunky. We're gonna come back and fix that. So one of the things I wanted you over here is go to our limb layer, get that skin color and fill in up to sleep in a race. This part where she's overlapping asleep and this finger because we filled in inside the outline figure looks really skinny. So we're gonna give her a little more there now, Like I said we could do. This is gloves, um, and that might work. Maybe she'll have color gloves with I'd like to give her She could have some really nice seafood gloves. Let's go on top of the limb layer again. And for gloves. You just want to pull them outside the arm a little bit and then just follow where that hand would be. Yeah. So there's usually a little bit of space between the two. I'm going to just drag and Phil aunt here. This is where we had that upper layer with the shading. Don't need that here, OK, now it looks like she's just wearing a mitten. Promised we're gonna fix that, were to come in with a slightly different deeper color and do exactly the same thing, right? So now she's got these bits and we can add just a little bit smaller brush. Just a little bit of shadow that would be in the back. She's of this close and do a couple of the lines to indicate some wrinkling. There might be some here. I don't love that, but I'm gonna think about that for a minute. Um I'm now thinking about giving her maybe some flowers. She's gonna hold here, and I'm still going to think about that hand for a minute. Um, I'm thinking about some flowers over here, so I think that that's something I'm gonna put in when we get to the details and textures and looking at her Now, there's something proportionally happening with her shoulders that I don't love that duty no more. No, she's got some more movement happening there as well. Um, now that we've made her a little bit more interesting and I will turn off Sure. Sketches turned off yet this is her. This is our pattern, lady. So in the next video, we're gonna go in and we're gonna play with background textures. We're gonna play with textures on her dress. We're gonna add in. Like I said, I think she's gonna hold some flowers. So maybe think about if there's a prop that you want your pattern lady to be holding. Um course gonna keep fiddling with this because I always you at some point you will stop yourself from fiddling with your pattern, lady, and you will meet me in the next video. 8. Let's Add Texture and Background!: that duty don't Now that we have the sketch and the color done on our paper Lady Weaken dive into the fun part which is adding texture and background and all kinds of little details to her. So So I've given you in the download section under projects three brushes that I've made the Oussama dark Kasama light and this hook. And I just want to show you that to do this I went into the brush studio and played with the spacing. So I took a standard procreate brush, um, and then broke up the spacing to show what it's made out of. So you can play with this a little bit and get a sense of what you'd like to do. The jitter kind of breaks up the pattern a little bit more. Think I'm gonna pull that up and you can do this with any brush with I'd recommend is if you do it to go ahead and swipe and duplicate before you make changes to the brush. You can also do this with the coup. Osama's the spacing. There you can make larger, you can make smaller. You can also go to grain and change the scale. I like mine to be fairly small, but having a larger scale can give you a better better of spaced background. Ah, but this is something that you can always go with and play with any brush like this. I just like I said, recommend that you make a duplicate if you are going to make changes so that you can go back to that original brush. So, like I said, Hook works really well for hair. So what we're gonna do is a clipping mask and her hair is this purple. So I think for a highlight and like to try this pink. And I'm just going to in this layer, going to make a layer right above her hair and just make some colors. Looks like a mess. But we're gonna fix that just by going to the layer and hitting, clipping mask, and you can see now it's just on the hair below it. And because it is a separate layer, weaken, select it and move it around and get the highlights where we want them to be. Kind of like that looks good. So she's got some shadow on the side of her hair and she's got highlights on the other side now for her dress. We already did some texture with the coloring by using a brush that had some texture to it . Now we can add just a few little details. I think I may just outline her neckline. Ah, in a slightly different color. Let's try this yellow or G yellow, and I'm gonna go in with the Kasama light, make it very small, make a layer right on top of her dress and we'll try just along the edge here just to outline that neckline. And because we're working on a layer that's right above the dress but also below her neck, we may not have to do a clipping mask on this because we're not going too far outside what we're already working on. That's kind of cute with that. Then we can sort of echo that on her sleeves, and now she's got a little bit of adornment there. Now. We could also make that brush a little bit larger and give her a belt, and if we do that, you can see I'm coming off the side here and it's showing up. So what? We'd want to dio to make sure that that doesn't show. I felt a little bit wider. There is Do. This is a clipping mask, a swell. So now everything is clipped to the layer below. It only appears on the color that is on that layer. So now that we have her nicely in place, let's think about how to fix that glove. It looks like a paw, and we need to fix that. So option is just to move her hand entirely behind her body. And you can see in many of our reference photos that that is something that happened fairly often. Um, and for that we want to go in Freehand, select her arm what we get and just move it So it's more of an angle. Actually, I would like to I would like to cut and paste that. So what I'll do is I'll go in, select it again. You can see it's on a different layer than the glove itself, so once you haven't selected, then you can hit copy and paste down at the bottom. And now that arm on that layer, we want to go back in, select and cut, so we only have one arm now on one layer, and the other layer only has one arm as well. So now we can select this one weaken, tweak it, we can move it. We can make it a little bit larger so it will fit behind her. That angle, it's a little awkward. So will finesse that once we move that layer below the dress layer. Now, because it's on top of another layer, that's a clipping mask. It automatically turned it into that. We don't want that, so if we turn off the glove and the little bits that went with it now, she just has her hand behind her, and that's fine. The other thing you could do is pull in a picture of the glove and do more of a trace to that. Um, I kind of like that. I think she's just kind of gesturing, So I'm going to get rid of the glove layer and the details that were on top of that. And now let's give her Oh, I'm It was gonna give her some flowers. So up on top of everything else, let's make a new layer. I think I want these flowers be wrapped in kind of Ah, I'm thinking about sort of a paper wrap, so I'm gonna grab my flat mono brush and just give a riel rough sort of wrapped up paper. Look here, and we will. I think we're going to do another interesting kind of texture effect on this. In the moments when we make sure my lines are matched up, I'm going to go just a slightly lighter shade and fill those Those lines were not connected . Fill those go lighter again and fill that back ground that is also not connected there. And so that's gonna be the flowers that she's holding. And then we can go in, uh, drop one more layer on top of that and use. I think I can use the palette knife for this, Put down a little bit and just really quickly rough in some flower shapes dot Eddie, not all right. And once we have the flowers in there, let me show you a quick trick to make this paper look a little more paper. I mean, I kind of like this flat look, but I'm gonna try one thing. Ah, just to get a sense of what it would look like if we added some more realistic texture to it. So I'm going to jump out and go to unspool ash free image page. Um, people put up their images for anyone to use here, which is nice, and we want a paper texture. You can see you get quite a few options there. I think this brown paper background at the top is going to be mostly what we're looking for . But you have a lot of options here. If you wanted to add the's would also work if you wanted to bring in textures in your background or on her dress or any other pieces. Um, what you do is once you find the one you like and I'm gonna go back to the top because I like this one here, we'll click on it and just hit download. And once you have that, then you can either screenshot it, which is what I'm going to dio um, or you can download it directly to your photos, go back and to procreate. Make sure we're on a layer above where we sketched our paper so we'll add one in there and then we'll add insert a photo, go to our recent and drop it in. So we're gonna do just the same as we did before making a clipping mask, and then we can move that paper around. So this already has a nice folding it that we can put up with the top to mimic where the fold and the paper would be. And now she's got a lovely bouquet. Now we just have to make that fit into her hand. So we've got Let's put these all in their own group, swipe to the right to select all three of them, and we'll group them together. Then we'll close up that layer so that we can see where it is. I'm going Teoh and then merge our clipping layer down so that it's all one piece. Now we cannot move that paper around anymore, but that's fine because it's fine where it is. Now we can lower its a pass ity on the whole, select the whole group, move it over. But it's so she's kind of holding the flowers in the crook of her arm. What Will Dio is go to that paper layer and just a race around where her hand is so sure we have a good eraser here, will use the flat mono well, this layer by clicking, getting the menu hitting select. And then we're gonna go up to that paper layer. And this way, when we erase, were Onley erasing where her hand is. So if we go over that, we're not going to take away. You won't want have that white line around the edge. If you're race too far over, this gives us just a little bit of insurance on that erasing. So clean that up. Take a look at it. That looks fairly good. I'm gonna clean up right along here. I think she'd have it in her hand there. And now we can take the a pastie back up and see where we need to see. There's a little more racing that needs to happen right there. So however, we have just her hand selected. So we need to de select, make sure we're still on that paper layer and just finish that now. Her arm looks weird, so we'll fix her arm so we'll go in and maybe just add a little more thickness there so that she has a reasonable looking hand. And once we have that done. Then we can add in the darker shade, just a gesture and her fingers. So now we have a lovely paper lady holding her lovely flowers. Let's add a background. So for the background, we want to go all the way down. We can even get rid of our inserted image. Now delete that layer and one more layer that we want to drag below everything else. And yet above the background color, think about what we want for her background. So she's got a lot of reds and oranges and yellow, so I feel like putting in something, maybe see foamy. This is a little dark, but we may pull that up a little bit, and then we can go in with really any texture will work in the background, Um, as long as it's large. So let's see what the Salamanca looks like. This gives you a nice sort of color wash behind everything, which I think is quite lovely. I like that color as a background for her. Um, maybe I do another layer and try a slightly different shade and to go into the textures that come with procreate. A nice background for anything that has a mid century feel to it is this dot pattern? Ah, it gives you that kind of print feel in the background, especially when it's offset a little bit like you can do when you lift your pin and come back to it. Feels like a lot those. Maybe if we drop that opacity, maybe play with the oh, that's lovely without lighten screen screen gives us this nice overlay color. Dodge brings out a little bit more of where they overlap. Add is very bright, linear burn. It's nice. I think I'm gonna save two of these one I'm going to do with linear Burn. And to do that, I'm gonna go ahead and turn off my color palette. So I have just my pattern lady. I'm going Teoh export her as a PNG and just save her on my ipad. Then I'm gonna go back to that layer that we set toe linear burn and I'm gonna try the screen mode and that when I'm going to export in just the same way P and G exporting save image, you can also at that point, airdrop to your laptop or desktop computer. Ah, so no look, you've made a pattern, lady. She's so beautiful. Let's see what else we can do with her. So once you've exported the background version, I would also recommend to more exports. One is to click and hold on just the background layers turned them on and export them that way, If you need to resize her background, it's a lot easier than going in and having to do it. Uh, with all of the layers and the other one is now click and hold. It will turn everybody back on, turn off both of those backgrounds and turned off background color. So now you can see she's just floating on this grey grid, which is the background. This means that we are saving her with a transparent background. To do this, though, you do have to save her as a PNG. If you save it is a J. Paige. It will have a white background, so save is a PNG in the same way we did the others Teoh, and now we can use her for all kinds of things. 9. Let's Upload to POD!: read Bubble is one of the places that I like to upload my work. So if you already have an account there, you can go to add new work, upload toe all products from your filial library, and we can select are background version. It'll upload it and you can put in your title so we can say flower lady for this one. And then you can get some product previews so you can see what she would look like on a T shirt. You can see what she would look like on the sticker on a phone case. I like the format for managing your products here, so we shrunk her down. You can see up here. She fits much better on the phone case. You can enable or disable these. She looks pretty cute on a pillow as well. But as you can see, her background is not the same size as it is there. So if you wanted her to have this background all over the pillow, that's where you'd make the background a larger size and then drop your transparent background figure on top of it. 10. You Made a Paper Lady!: Waas. Congratulations. You've done it. You've major paper, lady. She looks fantastic. I'm sure I can't wait until I can take a look at them. Uh, we researched. We found a bunch of inspiration images. We did some sketching and figuring out sort of what our shapes imposes a look. Book life. We used our templates to adjust those poses and faces and hair and feet. And then we inked After inking, we played with color. We tried a bunch of different color possibilities. We tried some different textures and we finish off our background and exported our material to use in other formats. I am really glad that you just was class with me. I'm excited that I got to show you what I dio. And now I'm really, really excited to see what you dio. So please post all phases of your project. Hello. I want to see all your ugly practice and operate stages as well as your finished project. And I hope that you'll leave a review for this class so other people can find it and so that I can get you see back on what you found useful in this course. There's also a discussion section open below, and I'm happy to respond to any questions or issues you might have making your paper. Thanks again on Steph Murray, and this has been