Photoshop for Fashion: Transform Your Hand-Drawn Fashion Sketch in Minutes | SchauminChanel Alexander | Skillshare

Photoshop for Fashion: Transform Your Hand-Drawn Fashion Sketch in Minutes

SchauminChanel Alexander, Fashion Designer | Illustrator | Author | Blogger

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
11 Lessons (1h 37m)
    • 1. Trailer

      2:31
    • 2. Project Details and Supplies

      4:59
    • 3. Prep Your Sketch

      1:27
    • 4. Setting up your digital canvas

      13:26
    • 5. Photoshop Surgery 101 manipulating sketch lines

      16:15
    • 6. Creating A Color Swatch library

      7:32
    • 7. Applying Color to Your Sketch Part 1

      12:55
    • 8. Applying Color to Your Sketch Part 2

      10:08
    • 9. Adding Dimension with Layer Techniques Part 1

      14:07
    • 10. Adding Dimension with Layer Techniques Part 2

      11:29
    • 11. Conclusion & Final Thoughts

      2:15

About This Class

fbd9b0a7

Join SchauminChanel- Fashion Illustrator, Designer, and author of the book “The Fashion Designer’s Ultimate Quick-Step Guide to Photoshop & Digital Painting” - for a fun, and quick exercise of transforming your hand-drawn fashion illustrations with a few corrective-steps in Adobe Photoshop.

In this short class, SchauminChanel swiftly guides you through materials you may already have on hand, easy ways to prevent extensive sketch ‘clean-ups’ in Photoshop, and focus more on bringing your illustration ideas to life with the use of color and layer filters.

The process of Fashion Illustration can foster endless creativity. The ability to draw perfectly should not be a make or break factor as to how you express your creativity! Give yourself permission to be creative, and show the world what your design ideas are made of!

63aabbee

What you need to know

This class is mostly geared towards Photoshop and Fashion Design beginners, so I will cover only  fairly easy techniques. Some working knowledge of Photoshop would be helpful. I use Adobe Photoshop Creative Cloud for Mac OSX, but all of the techniques are universal no matter what type of computer system you currently have. The shortcuts introduced in the video lessons work for both MAC and PC, but in the class materials you will find a convenient pdf with their equivalents for Mac.

a4952110

What you will need:

Below are a few of the tools that will be helpful in this course.

  • Adobe Photoshop (begin a free trial here)
  • Your very own Fashion Illustration (or the one I provided in the class project section)
  • Access to a scanner to get your sketch Photoshop ready
  • Wacom Tablet (not mandatory, but extremely useful)

6baf3ed6

Transcripts

1. Trailer: What I've always loved about the art of fashion illustration is the fact that they're essentially no rules. Similarly, when I think about using a powerful tools such as photo Shop, I think they're building to create something really cool. It's almost limitless, So naturally, I think, to go really well together, I guess, is a part where I formally introduced myself. My name is Shama Chanel, and I am a freelance fashion designer, illustrator and blogger at design and session dot com. And I created this class to allow others to bring their design ideas to life, no matter what their current skill level drawing is. In fact, one of the most common misconceptions that I hear about the art of fashion illustration is that you have to have a natural ability enjoying in order to be successful. But to me, that just isn't true. Hi person believe that there are three main components that every illustrator needs. I call in the three p's. You need passion patients and practice consistently to become great. If you have these three qualities, because I think it's safe to say that this class is a good fit for you, all you need to get started is a great design idea, a sketch of that design idea and, of course, photo shop. I'll go more in depth in terms of the supplies and techniques in next video. So let's get started and now see. 2. Project Details and Supplies: all right. So before we get started, I want to quickly cover everything you need to know about the project, along with some great tips for your suggested supply lists. So, as I stated in the intro, this class is all about transforming your hand drawn sketch in Adobe Photo Shop. So basically, I am challenging all of you to come up with an original design and create your own fashion illustration based on that design. Now, if you find yourself suffering from a serious case of designers black, which trust me, I know I've been there before. Unfortunately, then I would strongly suggest checking out my other skill share class fashion design with Soul, which focuses on tapping into an endless supply of inspiration from within. But for time's sake, I say good general tip to get started would be to look at your favorite retailer or fashion designer for inspiration and simply recreate that a look that resonates most with you so moving on to supplies, I suggest using a fashion croak E first and foremost for your illustration. Um, for those who are familiar, don't know what a croquet is. A fashion car keys, basically a figure template that most designers used to simplify the illustration process. It's basically easier to design over a body template silhouette without having to re sketch that body over and over again every time you have a design idea. So it just simplifies and expedites the process. Um, now creating a fashion croquet, but from scratch, if you're unfamiliar is like basically a class in itself. So what time's sake I created a fashion croquet, which I also sell on my site. Designed a session dot com um, free to download, print and trace over at your leisure. So keep in mind this is totally optional, but I wanted to just help anyone out if it if it gets the get any kind of blocks out of the way so you could focus on what's most important, which is getting that design on paper. So also, speaking of other bonuses, I have created two basic Photoshopped guidelines sheets that you can refer to during each lesson. I also suggests grabbing some pencils, drawing pencils, or I personally use mechanical pencils, drawing pins. One of my favorite are the micron drawing pen sets, which I have links in the class that you could go and see. As isn't option, you don't have to do it. But when you go to the next lesson, I'll explain why the drawing pin aspect is pretty important. Um, I also recommend eventually investing in a way calm tablet. They make the transformation process so easy. And as you go along with each section, if you don't have a graphic tablet, you will see how actually difficult it is to really get the results that you want with the standard mouse, so eventually definitely look into that. I strongly that was one of the best investments I've ever made when I purchased my wake home. Lastly, you will need access to a scanner. I happen to have an all in one printer, which I use a scanner on that from my personal and professional projects. Um, but their traditional scanners are, for the most part, pretty inexpensive, and there's also other options. If you don't have one at your disposal, local libraries and no usually have it. The scanner there, for free or really cheap and definitely your local office supply stores will allow you to scan for really cheap because I've done that before. A swell so there's definitely you definitely have options. I prefer that versus taking a picture of your sketch because it's simply, um, it comes out better when it's scanned. You really get the full view of that schedule and now touch back into that in the in. The next lesson also definitely need the most important component, which is Photoshopped. If you don't have it, you could go on adobes website and download the trial. I will also have that linked in the classes. Well, seek you go download the trial, which I think is 30 days. But that's definitely also good. Really great investment. Obviously, creative crowd is really awesome. And yeah, I think we got all that squared away, so let's get ready to start prepping our sketches. 3. Prep Your Sketch: all right. So moving along to prepping your sketch by now, you should have your basic fashion illustration sketched out in pencil form. At least next. I want you to out mind that sketch in ink, and the reason being is it helps to, um, solidify your sketch in photo shop and you'll see why, when I show my example within, um, the next couple of videos going into the editing aspect, which is the Superfund part of this process. So also, I want you to erase any random marks on your illustration in pencil form. That's on your paper now, because that also helps to reduce any additional correcting steps in photo shop, which saves time in which focuses more on a transformation than kind of back peddling to correcting things that could have done quickly my hand versus using the software. So when you're ready to scan, also be sure to check your scanner settings before saving. You want to scan your illustration at 300 d. P. I for the best editing quality up next, we're going to set up your digital canvas and get ready to start transforming those sketches 4. Setting up your digital canvas: all right, so and so excited. Now we're gonna get to the fun stuff now, Now we're in photo shop, and we are going to set up our digital canvas. So sitting up your workspace in Photoshopped is pretty simple and service climate story. But in the way, it's also a very important step that you really need to pay attention to, depending on what your desired end result is. So, for instance, that I opened up my scan sketch. Um, as you could see here in its original form of a J. Peg and RGB. This means that this sketch is ready for online. It's it's more most, um, it's it's most suited for our mind viewing, but if you want to do a printed portfolio versus an online portfolio what you want to do, then as soon as you open it, change the mode, which you could do this throughout the process. I rather do it early on, um, because it has a difference with how your colors are laid out. You want to change your color just C M y que so you would go to image mode and c m y que color, and they will you usually get this pop up, um, dialogue to tell you that you're about to change. Profile hit okay, and it's a very subtle difference, but you could see the differences in most apparently when you print, so it's always always keep that in mind if that color mode is most appropriate for what you're going for. So since we're going for, you know online, I'm going back to our genie. Also, you want to unlock your background layer to get started. In this case, you hold on ALDS double click, and now you haven't unlike layer. So the combination again is all double click on the icon to unlock a layer in the layers panel. The Layers panel is going to be, Ah, very key important element for this process. So I definitely suggest going back and referring to the cheat sheets that I've added into the class to kind of help you go back of your unfamiliar with the layer panel on how it works, and I'll still discuss as we go along. So just to make sure we're on the same page, so now we have our background layer, we're going to rename it, and then a double click here on Worse is layer zero, and we're just going to say it's thes sketch base enter. So now that it's unlocked, you can edit the image. So typically, what I would do, says a man control or command plus, will have you zoom in and zoom out. By the way, now, my sketches kind of leaning. That kind of happens when you're sketching on the flat surface is actually better to sketch at a diet agonal Um, if you've been to a traditional our class or you if you haven't usually a sketch on the drafting tables that are with the table tops that are upto at an angle versus being flat down. But that's something that we could manipulate and change that are on. So these are some things that I forgot to race out some mistakes and lines rushing through , but that's also easy to edit. What we're going to do now is manipulate the balance of the sketch, the white and the black balance of the sketch to kind of sharpen those lines, and in the process of doing that, that will also kind of take care of a little bit of the fuzzies But we still may have to erase some of this, um, out of here knowing me, I will, cause I'm a bit of a perfectionist. So in order for us to do that, we're going to come down here to the layer panel. I want to click this little have this little circular button here, and it's gonna say, Create new Phil or adjustment layer. So click here, and you're gonna scroll down to where it says levels when this pops up, not his opponents appear so you could still see was long run. You have. You see this kind of graphic here, which looks kind of intimidating. But the thing about Photoshopped that I've learned in my personal experience is just play around. The more you play around, the more you'll learn different things that work for you. So we're gonna take this and move upwards. And as you can see, enlightens of the sketch considerably the great areas. So I don't want to be too extreme. So now I want to dark in the lines. So I pulled this era in I don't want to dark, isn't it? Pulls out other areas, but you want it stark enough to where you could really see, especially if he didn't outline your sketch. Now, this step is most important. I outlined line so we don't need so much of a dark and look. But if you're in a rush, you could still do this too dark in your lines to kind of go move forward and and sketching . But I could still see that I've lost a little bit of detail by going too dark. Saves zoom out. I think we're good. Be We're gonna have to kind of erase some things to emphasize our lines a little bit more, but I think we're in good shape here. So now this is your, um your levels that you're gonna do. So what I usually do is lock this. I don't confuse this layer. And you just do that bite Clinton this padlock Icahn, and then we're going to go back to, um down here and the see this little folder, we're gonna create a new layer. And so what we're gonna do is fill that layer and I'm going to tell you why Shortly after so many hit Phil for the foreground color whites click on this layer, drag it down double click here. We're just gonna rename it as ground. And the reason why I'm doing this is because what I want to do is get into some fine lines here and make some corrections before I get into re before I get into redoing restructuring the silhouette completely, which is which is a heavily corrective step. We're going toe to start small first. So now I'm clicking onto the eraser tool and I'm adjusting my brush size. I could get into into corners and get details going. If you're using a mouse, you just right click on your mouse, which I could do right click on your mouse and then you will get this. And that way you can still change the size of your brush. But if you're using the the way calm, then um, then you just, you know, use the racer side of your stylists. So now we're into reduces, so her eyes a little bit too dark and you losing a detail of her triple bill passed you up to 100. That's another part of setting up just making sure, however you save your tools. The last time you used photo shop still be there next time, so just kind of bear that in mind. But now that I'm back in my eraser tool going and and it seems tedious, but I I always look at the fine details. So I go in and just do a light clean up and erase any kind of rough areas that didn't necessarily want, um, I could have did miss another step, but I kind of left this out on purpose just to show you what happens when you don't. So what I'm doing now is you take him when you with your sketch when you're working on your skin. Sorry. You take your you go through each naming and you look at areas on that illustration that you know you're not super crazy about and you could erase it out. And we're just going to do right now. We're just doing smudge lines because I don't want to. I don't want to get into the heavy stuff. Jesse's Yeah, because right now we're just setting up that campus to begin with. But we're going to get into manipulating our sketch lines in next video. So, like here, her lips are a little bit lopsided on the lines a little bit heavier than I wanted it to be . So Willman different. Manipulate that later. So right now, I'm gonna go in here and quickly do this, so it's a bit redundant. So what I'm going to do is speed this up just for you to see what I'm doing. But right now, we're only going to use the eraser tool to take off these rough spots. After we're done doing that, we're going to lock this back in. Well, actually, I could show you right now what we're going to do is actually create a layer group. And what I love about layer groups is it keeps your layer panel organized because once we get started fully into this process, you're gonna have a lot of layers. So I'm a strong proponent of naming all your your layers, renaming them and organizing them accordingly. Otherwise, you're going to be lost when it comes to the editing or tweaking certain details. And I do not believe in a flattening layers. I will say this. Um it's some people do that and I used to do in the past my first started, but I like to keep my layers. I could go back to that same cloud and change it when I need to change it. So what you would do in this case is hold on your mouse world In the hold of the mouse, click with your mouse, Hold on shift and select all of the layers that you have that you want to the all correspond together. So all this deals with just a sketch base. So I'm gonna right click Actually, you can do group from layers but gonna click this folder here which is a layer group No discovers you could see it created New Layer Group And all this does is literally like a file folder You put all your similar documents in the file folder and that's all we did is put all the different similar corresponding files. Oh, are layers in one folder. So now we have group one. We could rename the group, so that's double click on it Name, as I showed you earlier. And we're gonna name our group, um, sketch or original sketch entered. And there you go, the next step, we're going to go into manipulating the lines and yeah, I'm just gonna completely clean up this sketch and I will see you in the next year 5. Photoshop Surgery 101 manipulating sketch lines: All right. So before we go into the next up, which ISS beginning to manipulate your sketch lines, I just wanted to do a quick, um, overview of the last step. Just so make sure you still have you guys. So what we did was focused on the layer panels, which is here. Um, that's going to be the most the biggest, most important component of this whole process of transforming your sketch. Um, alongside here, we're going to use the tool box area, which is also important. And we use here the eraser tool, which is on the short cook. He will be e if you check out be ah, cheat sheet guy that I added I actually made a digital keyboard version of, um, a digital keyboard, but sketched R keyboard with all of the short cut tool keys that you could use to make the process go easier. For instance, um, b would be for brush. Um, I'm not mistaking. This is V for the move to the move till just literally. Desert says move items around, but we don't have anything right now to move. Um, so if you hit space, you get the little hand two grabs a whole click, hold space and click and drag And if you kind of move around miss create a little bit more So get Cem Mil Beat the tools more on the side If you're unfamiliar with photo shop Still, that would be really helpful. I'm going to try to go so as I can to make sure that we get it together and, um actually going to go clean up her eyes a little bit more in this one, so it actually a great example. So we're gonna go back into the eraser tool. So I hit E and is going to here and now we're still in the sketch base within that original group that we made. And I'm gonna go into that in just a second. So this is just the pupil over. I I don't want it to be so dark. That's the thing. Sometimes with the pens. One extra tip. When you're sketching with the pens and touch out. What I usually do is I don't touch up so much. Ah, the center of the face, the eyes and the lips. Sometimes I do. This time I did, but it comes out with a result like this, I I prefer to have my lines very light, but just enough just distinguishable enough. So in this case, um, it's more cleanup in this step. If you clean it up in the beginning, we don't have to do so much of this. And and that's just because I was really lightened. Erased my lines. Sometimes if it's worse and the the light balance that we did here and as have original schedule it. So it's just a layer mask. Innocence. You see the difference. So back to here we're transforming our sketch, which are actually not touching your original sketch. I mean, we are erasing some lines, which that's I mean, that's okay. We're just kind of fine tuning. But the trick is, and not completely, um, not completely mess up the original sketch. I'm all about preserving your original artwork for later on. So So I think we're at a good point here. So going back here to the layer pedal and I will zoom in. So this is the original sketch group and recreated that by selecting all of these layers and hitting group. So now we have this original group. We are going to go back, actually, in this group, because I'm gonna put we're going to go and transform and manipulate this layer. Now, in this step, when you go to manipulate, um, if you don't want to mess up, this sketch, based on what I've normally suggest, is to make a copy, and we're going to keep that copy just in case we go a little too far. So click on your original sketch layer dragon dome to create a new layer, and then you get sketch based copy. What I would do is turn it off. Of course, you could drop it down to be the lowest, and that's only here if we actually need it. And when I click back here, So at this point, we are going to begin something that I like to call photo shop surgery. So this is what really kind of get Teoh truly manipulate the lines and things that we thought looked great. But after looking at the sketch on a screen, we're like, not sure of which, for me is just balancing out her face, the angle of everything. So we're going to go into filters. We're gonna go through what most photo shop uses who do are familiar with it. No is a liquefy menu, which is absolutely awesome. That's when you see People magazine's Trantino Transformer Girl who's kind of little bit of the heavy side and make her look like she's, you know, Slim. But this time we're doing it for just light touch ups. So you go to filter liquefy. I'm not sure that I get Mr Make Sure filter at the top menu come down to liquefy and here we go. So this is the liquid five menu. You have different options. Now you can show your backdrop he wants which remember are backdrop is white that layer that I said I wanted you to put under your sketch. So when you erase lines, you still have a little background behind it. Um, that's totally optional, but I tend to do that anyways just to keep that sketch clean. Um, or you could take the backdrop out. You could show the image did not show a mash for guidelines. Um, I typically I'm okay doing it without, and so we're going to go here to the forward work to, and what I like to do is that kind of like pushes things forward and I'm gonna show you what I mean. So let me zoom in. So for instance, I think I made her forehead her face little too wide on the side. So using this tool, I could click and pull in, click and pulling, and I go very slowly in adjusted brush as you need click in Poland's Click and pull in. And so maybe I think her face is a little too heart shaped and it's still unbalanced. So let me bring in her face and more. What do you see? How you're just basically changing. Didn't see if I wanted to. This way in the washer direction. I go in and I'm going up. A DEA diag. No, not D. Agnos going up in a diagonal, and I'll move her hair a little bit. It looks weird now, but as you get back into the main menu, it's not as noticeable you could drag down. They could the bridge of her nose more prominent cause, Mischer knows. And for since lips, there's actually where I could clump of her lips or minimize her lips or even her nose suffers. If I want to shrink her, knows where to go to the Parker Tool right here. Which is s while you're in the liquefied menus and let me reduce my breast size. And if you would hear you see, have displayed her nose. Now, that looks a little bit weird to me, so I'm not gonna do that. But you could shrink her eyes also looks weird in her lips. So that's just showing you have that kind of goes well for this. I personally, like the size of our lives, is just about reshaping. So I'm back in the forward warp tool. And so now I'm just picking up and pushing down areas where I feel just need any tweet just a little bit and it doesn't have any perfect. And you could always go back in and still make changes, which I'll show you how to do, because there is, um, there is a way to hit liquefying a certain way. The second time that makes it. It just read does the same. It memorizes what you did, and it applies it again. But you may not want that See me to make sure you go in the liquefy menu. The second time the right way, so he's still a little even here. It's smoother. Her cheekbones. Pull out this one and see. I'm just tapping and pulling, tapping and pulling very lightly because I don't want it to be. And for her eyes, I could make him bigger. I decided not to put lashes on her cause I'll show you why there's a brushed it you could use to make it appears lashes. And then also, when we get into the digital painting part, I could show you how to do that as well, so that zoom out. That's her face. I should've backdrop. That's what it was before. So these fate lines are what we have changed your fate lines or where's her face is now. So let's zoom out and see if there's anything on a body that we'd like to change. I think I'm okay on the body. Actually, let's check the back view she had because this angle of her face, I'm going to keep this part dark cause that's this shadow. What? I would find it a little bit more as we go deeper into the painting process. I think she actually looks fine here I've had some sketches where it would take a while, and I would just go in and completely reconfigure them. But I think in this case, this one wasn't so bad because I took a little more time and prepping, Have a came out. So let's see. Is the body my thinking here? Once again, the bodies Okay, She's wearing a long gown. Very slim fit, nothing that slim. Is this just saying flu fit? Um, just round out her her bust very here. So now you can see the liquefy tool just completely does that if you want. Oh, plump up something. Let's say I wanted a plump of her lips and I would use the blow tool because I want to show you all the different ones that I typically used often their which should have Super Bowl talks lips. So that's not look that we want. But just to show you want to take our eyes bigger, you can, um, for this I'll probably keeping the same. And so what we do is click. OK, and now we're gonna zoom in, zoom out. Sorry. And after you go to let's go to earn dough liquefy. That's before we do it if I and that's see after. So at this point, you've manipulated your sketch just enough. We did the lines we pushed and tucked Nick lift and tuck all the areas that we wanted to change up. Actually, let's go back and little fight cause I wanted just since we kind of shrunk her face up a little bit, I wanted balance. That hair. I like the care of this a little too big. So I want to go to filter If you hit liquefy. This is what happens to get if you hit liquefy from here. It it you see how he just made it? Even my crazy looking It just basically did the same steps he did earlier. So we're gonna do under liquefies. Let's go back to filter and liquefy here in the menu, not the very top, and you're back in the same menu. And so basically, all we're gonna do here is touch up. Uh, see, I just made a really big mistake here. We're gonna use the Ford work tools. I was using the blow tool by accident, So we're just gonna use this tool to, you know, manipulate minds a little bit more. I still want to keep the fluidity of her hair. But I just want to bring it down a little bit just to kind of make it a little bit more proportion with the size of her face. No, it just looks weird to have this big mane of hair in a small face. And so we just keeping it nice waved. Look, now I'm doing is just bringing it down, but still keeping that shape because you don't want to go too crazy and do something like this. You want to just slowly pushed down as you go to keep that shape that you want, that you already have your just bringing it in. So if you you know, Frances, if you have your sketch where you know she has her leg looks a little bit warped. You could push it in just to kind of balance it out some more. I think the bring this hair lint and a little bit more down and then hit. Okay. All right. That looks pretty good. So coming up next, we're going to go into applying color to our sketch 6. Creating A Color Swatch library: All right, so now we're about to get into the fun part, which is adding color. So as you can see, we're ready. I opened up our swatches layer, which you go into window but swell down and hits watches. And I actually blend to mine out because I wanted to do a custom swatch palette. This helps you to be a lot quicker at, um, grabbing the colors that you need versus stopping and going. I'm all about having a very fluid approach to how you go about transforming your sketches. So to do that, we are actually going to go into Adobe that color, color dot adobe dot com. And this is one of my favorite things, cause you could actually create your own color palette based on an image they would all adobe color automatically extracts that from the images and makes a palette from there. And that's the beauty of having, um, creative cloud. You can also download the app if you have an iPhone or just a smart fold in general. Take a photo something that you really like with the APP, and it saves our color palette. And the beauty of that is that color palette goes right back into your libraries, which let me go back here to show you. So these are your libraries, which is basically all of the images. I have stock photos and I've used and we'll go into color stories. And these are all color stories I have extracted out of images that I could use. So this is also good if you want Teoh kind of have your staples like, for instance, deep run skin. Um, dark skin for women of color. You have different colors in a certain range that you could go to because nobody's actually one color when it comes to skin were multi dimensional. We have multiple colors. It's all about if you're into the cosmetic and, you know, movement. Right now, everything's about contouring and highlighting, and I'll go into more that Aziz Well, so I just wanted to show you this is going back here, so we're gonna uploaded image. So let's find an image. Actually. So, um, I normally Pinterest is my number one go to area, uh, for, um, images. Be sure to follow me by the lake. That was not meant to be a plug intentionally, but yes, go ahead and follow me. Um, so we could say our model. Um, we could say, Let's have him or her to be the same tone. A show? No, the man, Which is the the one way model. She's a nice 10 kind of shade. So you want to get her colors in. So let's see a good one. We could really get her tones. Not too much light on her. You see, Here's a pretty one. I like how you see her console her highlights. So you have different shades. So we're gonna save this image? Um, example. Skill shares. So now we're gonna go in, we're gonna upload, create common image. Mud's in this example, and some of in this select the image click open and automatically Julian a palette. So I'm sure they're picking that up from her now, so we don't want to get that. You wanna focus on their skins? Um, we could do those sort of things Now, later. Normally, I would choose a bigger image. I didn't realize how small it was. What? We could work with it. Once you click and drag out, Unlikely kind of goes in. And so you find a good point where normally a good point is like even a chest or the neck for, like, the base color. Yes, that's a cute one. So we're here. We're gonna go for her highlight color or her mid tone color. Actually, let's make this the mid tone. When you get her contour color in, we're gonna focus around this out of error, like her forehead. Who gets much darker on this. We're definitely focusing on this highlight. I usually like to have two highlights. Now show you why when they cover suit doing the illustrations. Uh, you know what? I'll actually keep this colored years. This might make a very cute lip color. So we're gonna do is hit save. Actually, you do need adobe I d. If you downloaded the free child, you could get it. Let me sign in really quickly, and here we go. So we'll just keep it, at example. Skill share. Gonna put it in, um, must create a new library. We're just going to call it our skill share library. It saves. So now we're gonna go in and we're gonna go back to little shop, and we are going to look for, uh, color story that we just created. And so here we go select skill share. And here's our palate. 7. Applying Color to Your Sketch Part 1: So as you can see, yeah, our color is ready. Anyone that we need to just jump into. But before we get started into painting process, we're going to close our original group. We didn't need this. One would be to still keep it. So just to collapse your group, you hit the down arrow. Look here. So that's original Sketch group. You don't want to mess with that. If you're scared, you're gonna jump into it a mess with it. I would lock all just to keep that other touch, because you don't want to mess it that right now, because it gets tricky after Well, so what we're going to is going to create a brand new layer you'll see down here where says , create new layer, click new layer, and we're going to rename it to rename Blair. Do you remember? Double click on what it says layer one, and we're going to say this is our skin base. So we're going to focus on adding the skin to skin tone to the sketch. So what I typically like to do is I use the layer option, multiply um, at 100% opacity to apply skin tone Because what I like to do is feed go with normal and that this is what I love about layers, because you could totally change the look of something simply by using a different layer selection. So for this one, we're in normal. And let's go back to our libraries. No, we're gonna hit this color here. So after you select the color which we're gonna go with this darker tone Well, actually, it's going this midterm. Um, we're gonna go back to layers and so would make sure that we're in the skin layer. And I'm going to show you what happens when you're in normal. Also, make sure your pasties up. I when I go back and forth with the sketch, I changed your passing and I'll show you why. But with this, we're going to check and I'm changing the brush we're going to do, um, kind of the hardness at 100% brush. This kind of just helps the, um, color go on more strongly when it comes to painting. Certain things I'd tend to change is the hardness or the softness of the brush, depending on what it is and you'll see as I go along. So as you can see here, one, this colors a little bit off. So we're gonna manipulate that cover anyways. Monica, let's do so. So let's say okay, we made our palate, but we're still not crazy about it. We could manipulate this color, so I'm gonna add a little more yellow into this. Well, let's go here a little bit weird. Still, I go toilet a read back in there right now. All right, So see how we do this. We're totally covering up the lines. So what I usually like to do is I go into layers delayer panel, and I go down to where it says multiply. When I do this, you get the color, you get the full color, but you still see your lines. And that's what I particularly care most about. So now we have our color in, and I'm in the papers tools with 100% hardness, as you can see, and I just color it now the color in the face. You could do it different ways. Because I have the wakame. I just the tablet. I like to just go in and it feels like you're painting it and it still has that organic feel to it. Versus, um, we're going to soften that the edges to here. That's another thing. That and you could do that with the eraser, actually go into the eraser tool. And we've been Now we're going to use a soft brush, but with the eraser. And so what that does is if we move that tool towards not don't go so close to the edge like this. You see where the crosshairs in the center of this brush You want to keep that to this side and what we're doing is we're just lightening up the areas. Only add the hair color and it's not so much of a harsh start and stop. So we're going to go back. We're gonna hit B is going to go back to our brush. We will go back and finish. Okay, So what I'm gonna do iss I'm gonna fill in all of her skin, the basics good layers, and what I'm gonna do is because she has sheer portions. I do those a little bit differently. So what we're gonna do is I'm gonna fast forward through this so that it doesn't get too boring. And then we get back to getting to the skin. In terms of the sheer I keep saying skin, I hope I'm not confusing you. So what I do is when I do my share layers, I do them separately in a different capacity. So I could kind of manipulate how it goes. So I'll be back in just a second to touch on how exactly I do that. And yeah, keep watching. - Okay , Now we have the skin together because of such a long garment, we don't have so much going to cover. So that was a good thing. Um, we're going to do now, and I see what you write here. Such a effectiveness. Sorry. Um, we're gonna do the sheer skin parts, and now we have this together. We ever skin based. We're gonna lock that layer in so we don't touch it. I like keeping things separate. I use a lot of layers keeping separate. When in doubt, you could just delete a layer and keep going versus you've messed up your holes entire thing. So now we're gonna go in and put the skin. We're still going to repeat the same thing again. what? Actually, I almost say my own mistake that I tell us not to do. We're gonna rename this layer, so I'm going to call this sheer skin Blair. So this is a share skin layer, and we're going to do the same thing. We're going to repeat it by coloring in this area and see how it's like covering the lines . Go back to our panel. More to play now multiply doesn't work every single time. I will say that much, because it, um it depends on when you start laying layering the colors. If you want a letter with color on top of another. For instance, when I add like, kind of a makeup, like little details, like makeup or lipstick or different things like that you're not. When you mix those different colors and multiply, just darkens it, and I could show you an example right here. Actually, unless I'm not the skin based, I'm going to show you what happens. You see how dark against, because we layer that that's what we don't want that. So I said to lock that layer in. But there's another way to work around this layer style or layer option I just tend to like to do this to put down my base colors when you want to add lighter colors and layer them. You could just play with opacity with your pasties. How light or dark, Um, or how much you want that color to show through in that layer, which is what we're gonna do exactly right now. So now we got this kind of Edinburgh wanna drop this opacity down quite a bit. Cause we're gonna do is we're gonna put black over its. So we want her skin to show, but just a tad bid. And we're gonna probably play with this once we add the black and and that will be the next lesson. In the next lesson, I'm going to go over the How did make a black still looked black? What? You not lose the integrity redesign when it comes to printing out? Because I've had that issue before, Mike, when you print it out, it just looks like a black mass kind of thing. You don't see your design lines is as much. And so here. Same thing now a quicker way because these are smaller parts. What we could do is select the Polly Gunnel to I always say it wrong. Which is this guy here? From at the top, there's different ones. You have the lasso tool Magneto lasso tool. I tend like, probably got over. You have a little bit more polygonal are homeless of sameness, right? Please don't touch me. But you take it and let's zoom. And I want you to really see what I'm doing here because this is if you want to save time. You could do this for the entire sketch, but I tend to like to brush it in. But for things like this, click and in just go click, go click and move and then you fill it in or shift F five and fill in the color so you can repeat that step again. I'm just going tracing around the body and you want the ends toe to meet. So click, drag, click dread quick drugs. But what we're gonna do is we want Teoh bring the to points together long last loves and you know they're close together. When you see that little circle appear, that means they're right on top of one another. Select and then you get this kind of, you know, the crawling ants. I like to call him appear, which means it's selected. You're going to go to edit Phil or shift F five control or command E T O D. Select. And there you go. This anything here? We're still in this share. Skin Blair? Um, no, you know. 8. Applying Color to Your Sketch Part 2: Oh, right. Can you believe it? We are at the end of our sketch transformation journey. So we're going to go into having in some fine details to most collapse these layers. And suddenly I added the hair color toe last section, and we're going to go in and add some more dimension. But first, let's actually at her eye color so really deep this create a new layer I color. Um, it's bring down. Keep her eyes brown. Remember, multiply a nice, rich brown color. We're gonna go in here. And so when I have, I'd it looks a little bit kind of splotchy when I want to solidify its like you're adding eyeliner. Think about it. You know, for people who wear makeup, you're just adding filling in details, See, when I add their lashes, Does using that black to bring bring those guys back out? This is her crease. Really? That, um, come up a little bit her last. Her eyebrows got lost in the process, and I'm definitely a brow person. They could make a breaker face, you know? So we're just What I'm doing is light flicking motions. Just taken a brush in this going in this kind of backwards see kind of motion because this angle, where she's honest, the juicing her profile, if you mess up, you could always kind of just touch up the ends soon. Mouth. There you go, See. So let's do her eye, Rose. What I just did was I went up to like a darker gray tone. You can just go into the skin tone as well. Just totally depends when it comes to a brow color. It's completely preference, like she's a brunette, so should probably be like a medium or warm brown. But sometimes I just like to play with the great tone just to bring it out. Black would be too harsh. So just stick with a great when you're adding, like flying, kind of flying kind of hair, detailed. Like If I wanted to get, like her baby hair, I guess you would call it out. You go here. No, I'm not crazy about how this looks so red, so we're gonna see which one is it. So it looks like it might be the hair that's coming in. So what I usually do in this instance, if I just take my eraser tool I'm in the eraser tool and I'm just with, ah, 100% softness. I'm just going in and kind of backing that away. That's what happens when you have two multiplied layers on top of one another. So let's close it. That base there, your skin tone. Let's go to our skin base layer. And I'm actually using this is a smudge tool. This is when you want to kind of merge colors together, emerge shapes together really lightly. I keep destroying really on the low side because it just moves up. But we're just moving, sinking. Get rid of that line of demarcation The difficult tricky when it comes to doing hairlines. Um, but you get the hang of it and kind of find your own groove. So we makes the eyebrows what you should just call it. I the I layer, Um, I want to add lashes, which I will. Now I'm going to show something that I won't be able to cover in this class. But once you get more advanced, you get to do fun things like work on brushes. Um, one of my favorite brushes that I found Hama Excellent graphic artist. I have to find her information. That ad is she already had ready made eyelashes. So let's lock in this eye color and go into a new layer, and we're gonna also did multiply. So these lashes you gets do like and keep in black for the well sport. So this brush needs to be changed cause our eyes were more turned inward. So I'm just gonna play around and pivot and play with the size. And this is mainly for show, because I know this is more complicated that little it later on in another class, I'll touch on brushes and how to enhance your sketch is Nicole. She just got mink lashes and the snap of a finger. And so now, going to pivot down, seduces size a little bit more, increase a little bit more. You could press a different times to make it more luminous. So she has wispy lashes. Let's say we want to do bottom lashes When I Seriously, when I found this fresh, I freaked out because I would go in manually and do the lashes, which I'll show you or me other version on the back for the back view of the other models to show you how to do lashes. But these just add just like a really cool element to your sketch, and it could be done in, like, no time. You just have to play around the placements and the size. All right, so that's that. So we're gonna go back to the regular brush so I could show you how to do it manually. Isn't she hot going back here? In this instance, she technically, already had some lashes wear drew it on, but she would just lightly flick your brush and play with the opacity. The latter is the of the opacity of the brush, which you make sure you, sir, Commercial air, go into the top. It was going to show you this. Your 0.1 was just the smallest size, normal mode capacities at 67. And you do that and it kind of gives that saying effect. You just have to manually go in and do it. I think so. Still a bottom a little bit more, cause she has a lot of bottom lashes on the other one. All right, so let's just call this lashes, lock it in, and now we're gonna add live color So for her lips, let's go back to that color story that we've made. We're going to select this really cute kind of future color. Now, when you put it on top of her skin tone, which I did on the lips when I first initially colored it, it'll come off as another color. See, this is the normal. So that's the true color. But when we hit multiply, it darkens. But not about too much with this one, actually like it. So we're going to run with this. Um, Now we're going to back in, really You? And now we're gonna add to mention overall to everything. It's a less just, um I was just called this layer hair and beauty. We're going to create a new layer. And what we're gonna do is we're going to add, like, a contour highlight throughout the sketch to go in detail. We could go in more detail, but I want to keep it simple enough. Actually, let's not leave her nails out. What nails? No, past me all the way up. Normally, outdo, there now is much more better ever for this. Obviously wanted to focus on the actual figures. So if it was a client situation and I would definitely go in and make it super pretty and perfect or portfolio, of course. And actually, let's lock this in. But we go like two lips. I don't think I was a full 100% when I did that one. Nothing good. Let's clean up beside. 9. Adding Dimension with Layer Techniques Part 1: Oh, right. Can you believe it? We are at the end of our sketch transformation journey. So we're going to go into having in some fine details. You must collapse these layers and suddenly I added the hair color toe last section, and we're going to go in and add some more dimension. But first, let's actually at her eye color so really deep This create a new layer I color. Let's bring down, keep her eyes brown. Remember a lot of play. Have a nice, rich brown color. We're gonna go in here And so when I have, I'd it looks a little bit kind of splotchy when I want to solidify its like you're adding eyeliner. Think about it. You know, for people who wear makeup, you're just adding filling in details, See, when I add their lashes, Does using that black to bring bring those guys back out? This is her crease. Really? That, um, come up a little bit her last. Her eyebrows got lost in the process and I'm definitely a brow person. They could make a breaker face, you know? So we're just What I'm doing is light flicking motions, just taking a brush in this going in this kind of backwards see kind of motion because this the angle of where honest, the juicing, her profile. If you mess up, you could always kind of just touch up the ends. So mouth, there you go, See? So let's do her eye, Rose. What I just did was I went up to like a darker gray tone. You can just go into the skin tone as well. Just totally depends when it comes to a brow color. It's completely preference, like she's a brunette, so I should probably be like a medium or warm brown. But sometimes I just like to play with the great tone just to bring it out. Black would be too harsh. So just stick with a great when you're adding, like flying kind of flying kind of hair, detailed, like If I wanted to get, like her baby hair, I guess you would call it out. You go here. No, I'm not crazy about how this looks so red, so we're going to see which one is it? So it looks like it might be the hair that's coming in. So what I usually do in this instance, if I just take my eraser tool. I'm in the eraser tool and I'm just with, ah, 100% softness. I'm just going in and kind of backing that away. That's what happens when you have two multiplied layers on top of one another. So let's close it. That base there, your skin tone. Let's go to our skin base layer. And I'm actually using this is the smudge tool. This is when you want to kind of merge colors together, emerge shapes together really lightly. I keep destroying really on the low side because it just moves up. But we're just moving, sinking. Get rid of that line of demarcation. It is a little tricky when it comes to doing hairlines. Um, but you get the hang of it and kind of find your own groove. So we makes the eyebrows what you should just call it. I the I layer, Um, I want to add lashes, which I will. Now I'm going to show something that I won't be able to cover in this class. But once you get more advanced, you get to do fun things like work on brushes. Um, one of my favorite brushes that I found Homa. Excellent graphic artist. I have to find her information. Ad is she already had ready made eyelashes. So let's lock in this eye color and go into a new layer. Everyone also did multiply, so these lashes you. Let's do like keep in black for the well sport. So this brush needs to be changed because their eyes were more turned inward. So I'm just gonna play around and pivot and plays the size. And this is mainly for show, because I know this is more complicated that little it later on in another class, I'll touch on brushes and how to enhance your sketch. But isn't it cool? She just got mink lashes and the snap of a finger. And so now, going to pivot down, reduce the size a little bit more, increase a little bit more. You could press a different times to make it more luminous, So she has wispy lashes. Let's say we want to do bottom lashes when I Seriously, when I found this fresh, I freaked out because I would go in manually and do the lashes, which I'll show you or me. Other version on the back for the back view of the other models to show you how to do lashes. But these just add just like a really cool element to your sketch and it could be done in like no time. You just have to play around the placements and the sizing. All right, so that's that. So I'm going to go back to the regular brush so I could show you how to do it manually. Isn't she Haas going back here? In this instance, she technically already had some lashes wear drew it on, but she would just lightly flick your brush and play with the opacity. The latter is the of the opacity of the brush, which you make sure you circle brush earlier go into the top. It was going to show you this. Your 0.1 was just the smallest size, normal mode capacities at 67. And you do that and it kind of gives that saying effect. You just have to manually go in and do it. I think so. I'm still a bottom a little bit more cause she has a lot of bottom lashes on the other one . All right, so let's just call this lashes, lock it in, and now we're gonna add live color. So for her lips, let's go back to that color story that we've made. We're gonna select this really cute kind of future color. Now, when you put it on top of her skin tone, which I did on the lips when I first initially colored it, it'll come off as another color. See, this is the normal. So that's the true color. When we hit multiply, it darkens. But not about too much with this one. Actually like it. So we're going to run with this. Um, Now we're going to grow back in, really You And now we're gonna add to mention overall to everything. So let's just, um, was just called this layer hair and beauty. We're going to create a new layer on. What we're gonna do is we're going to add, like, a contour highlight throughout the sketch to go in detail. We could go in more detail, but I want to keep it simple enough. Actually, let's not leave her nails out. Nails no past me all the way up. Normally outdo there nails much more. Better for this. Obviously wanted to focus on the actual figures. So if it was a client situation, and I would definitely go in and make it super pretty and perfect or portfolio, of course. And actually, let's lock this end, but would go like two lips. I don't think I was a full 100% when I did that one. And good looks clean up side. All right, so now this is going to be our dimension layer. Right? So now we're going to do something really crazy. We're going here and go to edit Phil, and we're going to go to 50% gray and I'll show you it again when she go to at it. Ben, Phil in the contents menu, click and scroll down to 50% gray and hit. OK, so now you're sketches basically missing. But that's OK, because we're going to click here in the layer menu and go to Oh, really? So now you're sketches back. So what did that do? Basically two dimension layer is what we're going to do to add dark in your colors and lighten them up without messing up the integrity of the other layers. So what I mean by that is we're going to use there's a burn tool, and then you have the Dodge Tool, the burn tool. Think of it as burning in black ends or darkens on an area, and the Dodge tool lightens it. So when we use the burn tool, it's very easy to go overboard and completely ruin your sketch. So when you do it this way with a colored layer in the gray, it will. You'll get the same effect without the damage to your sketch. So here I am, adding this here that looks a little too road. So let's do it again. You could change from highlights mid tones and shadows. They all have a different effects and just play around with it because our undertones arm or on the rather side and I would reduce it, actually, because he wanted just to just enough Okay, well, that he kind of give her a bronze to blush kind of Look here, go on. Her temples go her neck under her neck. Usually there's a shadow casted at that area where her hair is and course you want to touch into the hair. I have the exposure really low, and I'm protected my tones when you uncheck that it's it gets a little bit get more of, ah, output, but it could be more damaging. So you want to build slowly. Then quickly, I guess, is a better term to say it. And if you go to the dark, sometimes you could go back over with the Dodge Tool, which we're going to dio right now. I just want to focus on and the way I sketched it you already have those shadows, anyways, is just reinforcing that in those lines with small lines that I created in my illustration . So where shadows would normally cast if the light was shining on her. 10. Adding Dimension with Layer Techniques Part 2: now we're giving into the dress. Have I said to add a little bit more dimension, darkening those corners. Think of it as like a silk knit and where the light hits of verses where it doesn't. And this is where you start to get Make it look a little more realistic of like one stockings and you see the edges of those stockings like a little bit darker and you see the skin peeking through. And this may be harsh, which could always just play with the opacity. And this is definitely to show you how it's good and this is only the Dodge Tool. So I'm gonna go Not sorry. This is only the burn. Until that we're using, we're getting into the Dodge to a mix. You should just try to add dimension like the fabric is kind of here. In order to fix this area, possess kind of bugging me. I went t to that side. That's why sometimes good to keep the protect tones and why you should always do keep it open and another trick once you get more advanced with the layers. I would sometimes do this for multiple layers, meaning I would do the 50% gray layer only for hair or only for skin and put layer like order the layers in a certain way. Word that only affects. Because what's going on is you're just the layers beneath it are getting affected by what we're doing up here. Eso kind of giving a little dimension is that you see your leg on? Yeah, assuming little someone, our shoulders Move her back soon in, See if you have contour together, her contours turning a little bit on the better side, which I'm not Santa. So I will show you another step to kind of fix that course her crease. Think about like makeup. So we're going to counter act this. I went to excessively here. 70 years. The Dodge Tool, another Dodge tool at lightens up. So we look here, lightens up her face. So do like her concealer is literally funds. Like doing this digital makeup. Basically, if he felt like he went to light which I think I did protect tones to start in it. You can with the burn too. It's not too bad by this one that keep it well, one of her face more who just winning it back over a little too high. Let's go back into the charge, going to lightly Sorry, Dodge, too. And the dash to looks like a little. I think it was like a lot of class. You go in there, you just lighting up areas in their face as far as address goes, you know, us kind of like points that kind of come out. And you see my friend knees were the light hits like or her thigh is where the fabric is more prominently, laying on kind of a raised, um part. So, like if you want to figure out how to kind of highlight, address or highlight the clothes, depending on how it's hitting them, it was like a slinky or fabric. Then I would suggest literally going and looking at ask images online of dresses that are not only similar but just similar fabric. So you could see how it looks, how it lays where the light hits it. Is it more than Matt doesn't have a slight sheen to the fabric? Isn't that all factors into how you're gonna finish your sketch to kind of give it life? So this one has almost a little more lights. Didn't intentionally mean to do it, but I kind of like that's coming out. Mm. What I'll do is go back. It will be dark in it again. So what, this other areas to be nice and dark? Basically, you just keep repeating the process. So I'm gonna finalize what? Actually, before we go, let's do one ripping I want to show you. In the case of her face, it became a little too warm for my liking. So in the event where the burn tool is not working for you, you play with undertones, shadows and capacities. It's going to go back into the brush tool or hit B and Miss elect her skin tone. Click here and let's go all the way to the Grays. We're still messing with the Greys. So we're gonna just do skin shadows is what is going to be called. Let's make sure we lacked us to mention layer because we don't wanna mess with it. And now we're gonna make sure we're in The brush is 0% hardness, and I know it looks weird. Let's put this in. Let's play. Seems that those super dark So let's drop it all away Dio to No. 20. That's a good one and leaving Little Regis on the ad in her shadows that way and erase away the edges to kind of lighten it up. He wants, apparently, to go under her next. This adds a great This is a great way to add shadows in a more controlled manner versus dodge and burn our really cool. When you're in a rush in, you want to just do it overall, you know, dark in, up in lighten up kind of field. But it could get pretty, um, destructive pretty fast and that a tipper we're doing, you could lighten up the opacity of your brush. So if you don't want to keep going back to race actor and there's adding dimension to the bridge of her nose to the bottom, you want to make her have a button nose McSherry Wedding tries to do when they do that make us before that missing and I'm just lightly erasing away edges and yes, there you go. You want to add that to the dress as well, completely up to you. And then that fixes up our contour. Living more warms it up And of course you could. Well, this contrary, what's stolen here? Okay, go back. Two dimensions there. And I would actually highlight this a little bit more. This side, obviously. There you have it. Someone is dropped. Bestow a little bit more. There you go. And we are done. So let let's I will see in the next video. We're gonna touch base and kind of go over what we've done today and conclude this quest. 11. Conclusion & Final Thoughts: so it looks like we are the end of the road here. I had so much fun putting this class together, and I hope that it was helpful and insightful and really open your eyes to different possibilities that you have when it comes to illustrating your design ideas. So I know there was a lot to cover and I couldn't get into everything that I would like to have gotten into in terms of advanced techniques in different ways that you could create different effects. But what I wanted to do was give you something that could help you continue on this journey of digital fashion design, which is one of my favorite topics. So I have ah, e book out called the Fashion Designers Ultimate Quick Step guide to Photo Shop. Um, and I'm offering it to just exclusively for you guys at 30% off just because she took this class and I strongly suggest taking it and I mean a notes, my book, but definitely, you know, it's just optional. But if you want to continue on and learn more detailed step by step techniques, I think the book will be really great options for you. um, also be sure that just followed me here on skill share and and keep in touch. Um, on the latest updates and new classes, workshops and special offers that I will be doing, I want to be more. Oh, I want to be able to just keep in touch with you guys and just see what's going on and follow back and and see the progression. And I really look forward to seeing your projects in the project. Ality. I'm very excited to see that, cause I'm sure they're all going to be great and awesome. Um, yeah. I am so glad that you took this class and take the time to go through each lesson. And I appreciate you. Thank you so much and see next time.