Turn Doodling Into Mixed-Media Art | Alma De la Melena Cox | Skillshare

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (1h 13m)
    • 1. Turn Doodling Into Mixed-Media Art

    • 2. Warm-up

    • 3. Doodle Drafts

    • 4. Final Design

    • 5. How To Wood Burn

    • 6. Burning the Design

    • 7. Painting the Artwork

    • 8. Adding Fabric

    • 9. Adding Details

    • 10. Final Touch—Varnishing

    • 11. More Inspiration

    • 12. BONUS! Adding Fabric to Illustrations in Procreate

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About This Class

In this class you'll learn how to turn simple doodles into colorful, textured, layered mixed-media artwork on a 12"x12" wood panel. Then, as a bonus, you’ll learn how to add fabric to digital illustrations in Procreate on the iPad.

I'll show you how I create this artwork, "I Love to Create."


You'll gain skills to create art like this:


You will learn how to bring fabric and paint together on wood and how to wood burn your design. I’ll show you how to create high contrast with a few acrylic paints for color impact. Through this process you’ll gain trust and confidence in your own creativity. Watch the Introduction video to learn more about this inspiring class.


BONUS! You'll learn how to layer photos of fabric to your digital doodle illustrations in Procreate on the iPad (final video). It's a great way to make your digital illustrations stand out.


This class is for beginners and seasoned artists and everyone in between who loves mixed-media art. 

Meet Your Teacher

Teacher Profile Image

Alma De la Melena Cox

Mixed-Media & Digital Artist



Hi! I'm Alma, I've been a mixed-media artist for over 20 years. I'm the author of Collage Fusion and Calling Dolores—a novel about creativity. I love teaching at art retreats worldwide, and sharing all my techniques in my art studio and online. I think Skillshare is super cool ❥.

For more inspiration and tips, visit my YouTube channel.

 My love of mixed-media has spread to digital art. Check out my Procreate classes here and here. I share FREE mixed-media backgrounds and photos for you to use in your artwork. 

I'm passionate about creativity—mixed-media art especially, because it's a great way to express yourself intuitively and to make your artwork and digital illustrations uniquely yours. Have questions... See full profile

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1. Turn Doodling Into Mixed-Media Art: Hi everyone. Welcome to my studio. My name is Alma DLM, Alaina Cox, and I'm an artist, author and teacher. And today I'm going to show you how to take a simple, fun, intuitive doodle and turn it into a cool mixed media artwork. I'll take you through an easy due to warm up on paper. You'll create a doodle draft and a final doodle design. I'll show you how to use an optional wood-burning tool for the design, or you can paint your design right away. Then you'll add fabric and details to complete your mixed media art work. There are two bonus videos. One that gives you even more inspiring ideas. And for those of you who love digital art like I do, you'll learn how to apply this doodle art technique on your iPad in Procreate, this class is perfect for beginners who don't think that they can draw. And for anyone wanting to try and mixed media art for the first time, you'll gain a solid understanding of using layers with mixed media art. And you'll gain the confidence to trust your own intuition when you're creating. I'm so looking forward to seeing what you create, Let's get started. 2. Warm-up: Let's start with a few pieces of just regular 8.5 by 11 computer paper and some sharp fabric scissors. And what we're going to do is we're just going to cut some square shapes. And they don't have to be perfect and they don't have to be measured. That can be very rough. The idea here is that your finished product, if you are following along with me, is going to be a square shaped wood panel. And so whatever you are using to warm up and all of your drafts will be a similar shape. I just want to show you where we're heading. You're just going to be creating some free flowing doodles on these small pieces of paper. And as you can see, I do have some that resemble an idea that was in my mind. The important thing here is two, not judge what you're doing. And you may think of a little figure. You may think about a flower and doodle bat. Here I was sort of thinking about a mother and a child. And the point here though, is to be very present, to be in the moment and just to allow the hand to move, I'd like you to hold a pen or pencil. I'm using a Sharpie so that you can see what I'm doing and hold it very loose. And with your eyes closed, just I invite you to move the hand around the paper and you're holding onto the little stacks so you have a feel as to where it begins and ends, you know, top to bottom. And some of us will be doing more rectangular shapes. Some of us will do loop de loops. We're all different in what feels good and right for our hand and how to move it around. For the second one, I am opening my eyes and I'm moving very slowly and intentionally because I am in tune with where my hand wants to move next and where I want to fill in spaces or keep the hand moving in whatever direction it wants. So this is a very simple but very effective exercise also to get to know what kinds of shapes you are drawn to. We put our artwork aside without any judgment. And now I'd like you to think about things that you enjoy. For example, I really enjoy flowers, especially imagined ones. You might think about a butterfly or a lady bug. Or maybe there's a very specific flower. Just keep your hand moving without lifting your pen. And you can go over lines that you already have drawn as many times as you need. Another fun prompt is to go to a mirror and with your paper and your pen, and draw your face without lifting your pen. It does not have to look like a face. It doesn't even have to be a shape that resembles a human head. You're just allowing the hand to move freely. You're observing. And this is a good time to also observe your thoughts as you're creating. What is your mind telling you? This is silly or this doesn't look like anything at all. You know, how is this, how is this art? We have all kinds of conversations and our head. Maybe you're a lucky one and you're thinking to yourself, Wow, what I'm drawing is absolutely amazing and I hope that that's the case. But as you can see here, now, I'm just doodling little flower shapes around my head. I gave myself a bit of a crown and put that one aside and we move on to the next. Here I start thinking about building perhaps a cityscape. And I quickly become bored and I changed the idea into some letters. And it's perfectly okay to move in a different direction. It's how we create the unexpected and the art has an element of surprise in it for us. And sometimes even a sense of humor. I'm speeding up through these final warm-up doodles before we move on to your first draft of your doodle artwork. So I'll just see you in the next video. 3. Doodle Drafts: Of all your doodles, I'd like you to select three to five that catch your attention. Something small about them that you're drawn to. They might have a bit of whimsy, perhaps just even a couple of curves that you'd like. We're not choosing it based on best composition necessarily, or what you deem to be more like real art. This is difficult. Then close your eyes and just handpick three to five and we'll go forward with those. So the next thing I'd like you to do is take a piece of computer paper and folded so that it resembles a square. Again, we are not measuring, It's just a moral, more or less thing. I'd like you to look at your selections and let them serve as inspiration for this first draft. So I'm going to again keep my pen on the paper and not lifted up. And I'm just looking at what draws me first the figure and then the word. And notice that I'm not having to complete the figure. Before I move on to the next step. Keep the hand loose. Notice if thoughts arise and just keep moving. Keep moving the pen and do your very best to enjoy it. For me, this hasn't always been easy because of perfectionism or because I don't feel like I'm creating exactly what's in my imagination. But what I have learned over a long time is that I love the unexpected and I loved being surprised. And this process gives me those things. We're going to create at least two more drafts. And I've actually, I'm not looking at the first draft I did. I'm just looking at the little doodles and I'm entering the page with one of the newer element. So this time I'm starting with the flowers instead of the figure, so that I don't break any inclination to perfect the figure that I did as the process takes me closer to the final drawing, I want to be mindful to keep it loose and fresh. Following my creativity has taught me so much. Most especially in the thing that I'm really grateful for, is that it's taught me to trust myself, right? And the process and my own intuition. If you can get in touch with the types of things that you're drawn to and that excite you, then your art journey is going to be very fulfilling. For my final draft, I'm going to begin with the words. I believe words are really powerful and artwork and they emphasize design and a message and a feeling. What I love about the doodle is that we're making a statement to ourselves that our marks matter even the very simplest of lines and curves. That what we have to say is a value. And we're sending our creativity, the message that we're here, we're showing up and we're open to receive more inspiration. When you're finished with your drafts, feel free to add any final little details in the spirit of bringing you more joy. In the next video we'll transfer are designed to the wood panel. 4. Final Design: By this point, you've probably noticed that the drafts are significantly smaller than the wood panel. And that's fine. It's by design so that we don't use any kind of graphite paper or and carbon paper to transfer the design. We want to keep it fresh. We want to keep it knew even though we've doodled the designs several times, we want to give our inspiration plenty of opportunities to surprise us. So I feel like starting this piece with the words I love to create. I recommend using a pencil. So you give yourself the option to erase a line or two if you need to. We're gonna do my best to keep the pencil on the wood panel until as long as it feels natural. At some point, I am going to stop and I will then cross the T's and add any kinds of details. But for now, just trying my best to keep it loose, moving really slow with intention and enjoying it. And here you can see that I'm running a little bit into trouble with her head and those letters. And that's what I mean by giving ourselves the option to erase a little bit if we need to. But I'm not going to stop and correct because I want to keep the free flowing movement of the artwork. If I start stopping and correcting, it does tend to lose a little bit of that energy in that that flow. So that is why I'm going to wait until my hand naturally stops moving. So to give the figure some hair, I do want to move a few of those letters and so I'm just going to be erasing the letters so that I give a little more space between her head and the bottom of the letters at this point in the process, is that good time to check in with yourself? Are you breathing? Are you enjoying the process? What is your mind telling you and are you if it's not being very positive, just do your best to let the thoughts wash over you. Don't believe them and keep going. So a quick word on hand lettering, I love it and I especially love the exactness of it. However, that is not what we're doing here with the doodle art work. Here, we want it to be a little wonky. It's okay if one letters bigger than the other, it's okay if things aren't centered or aligned properly. So please keep that in mind as you do your words now here because I erased and I moved my letters, I lost the connection with that flowing line. And that's fine. What I decided to do then is turned that, that line into another flower. And now I have created space for her hair. And I think initially I am thinking about short hair and then it just does just doesn't feel right. So I'm going to move towards giving her some flowing hair. And as I slowly think about the direction and how I want her hair to cascade down her, her body. I'm also thinking about more shapes that I can add to her body. So these are what I call paint opportunities. So every little shape it becomes like a puzzle piece. And it's just another opportunity to add color. So in the same way, I'm going to keep the rep, repetition of that up and down of the flowers. And I'm going to curve up and give her a little heart-shaped flower. And then I'm going to bring the line all the way down and incorporate my signature at the bottom. I'll speed up here at the end with the final details crossing the t's. I'm also going to close the shapes and this'll make more sense in the painting video, would burn. Shapes are easier to paint if they're closed instead of open like a spiral, you don't need to go over your lines is second time. In fact, I don't really recommend it. I'm just doing this so that you can see what I want. My final design is, and you can see it clearly. It's easier to erase if the lines are not as dark. In the next video, I'll demonstrate with burning, and in the following video, I will show you how I would burn this design. 5. How To Wood Burn: So if you've never used a wood-burning tool before, I recommend doing a little bit of practice and the best way would be just right on the back of your wood panel. And here I'm drawing a line with the grain and one against the grain. And that's so that you can get a feel as to the difference how the tool feels. Doing both. Let's also practice with a curved shape and maybe even a couple of small letters so that you can use the tip of the wood-burning tool. So besides following the manufacturer's directions, please remember that all of the metal and even part of the plastic can get extremely hot. So please do use caution. One thing to keep in mind is you don't want to press excessively hard. You remember it's the heat that's burning it, not the pressure. Placed the wood-burning tool right in the groove from where you last left off to continue drawing your line. I'm not going to accelerate the videos that you can see exactly how slowly you need to move with the tool. You may decide that after you try this, you will only do a few lines in your design with the wood-burning tool and that's perfectly fine. I happen to like that it takes a long time because it puts me in a bit of a meditative state and gets me to that place of no mind with the artwork which I really love. So here when you're going against the grain and grain, notice that the line is going to be different. There are going to be little bumps and it's not going to be a perfectly smooth or even straight line. But I think it's one of the things that gives the final piece a lot of character. You want to turn your wood panel so that you're always wood burning towards yourself. And this way, you don't get in an uncomfortable situation where you're having to make tight turns. Turning the panel actually helps quite a bit. I'll speed up quite a bit to finish this heart, because really you just need to practice this and it's the best way for you to learn. And I'll slow down to show you another trick if you want a thicker line is to turn the wood-burning tool at an angle, in this case to the right and it makes a deeper channel. So if you want to vary the thickness of your line, this is an easy way to do so. I'm jumping ahead here to the letter to show you that you can also use the very tip of the wood-burning tool to make a line one little dot at a time when you have just a very tiny distance to go and you don't want to overburden aligned. Obviously the little cross in the letter a, smaller than the length of the tip. So that's when you want to use the tip, like I'm doing right here. And the last thing I'll show you is you can also use the side of your blade or the tip of the tool to do some shading. And you know, if this is something that appeals to you, you want to just be really gentle. You don't want to put a lot of pressure on the tip because you don't want to damage the screw. The tip actually screws into the tool. So I'm just lightly, again, relying on the heat to make the marks. In the next video, I'll show you how I would burn my designer. 6. Burning the Design: Wood-burning does take a long time and like I said before, I do really enjoy it. This piece will take me about 45 minutes or so to complete. So I'm going to speed it up for you shortly. I just want to show you how slowly I'm moving for this first letter. I've also noticed with wood-burning tool after making hundreds of artworks with this, that it likes to take breaks. So you'll notice that after a little while it doesn't seem to be burning as efficiently as it does in the very beginning. So you just want to take a couple minutes, let it sit there on it's little metal stand or put it somewhere safe so it heats itself up to its hottest setting. So I'll stop talking here soon and just let you watch the time-lapse. I just want to mention one last thing and that is you can vary the thickness of your line. I like to keep my line consistent for this particular artwork, but I do recommend that you practice just to make sure you like the look on the back of your wood panel. In the next video, I will be painting the artwork and I'll show you how limited palette is an easy way to make your artwork look cohesive. Okay. Hello. Let's get started. 7. Painting the Artwork: My approach to paint is I recommend that you pick the first three to five colors that jump out at you. My figure has a mother nature fields, so I have selected three grains, the bright green, the dark green in that neon green. And then I'm going to mix these colors with black and white to achieve value differences or to get high contrast, which I will speak more about in just a little bit. These paints are all different brands. They're not all created equal. However, it doesn't really matter because if one seems to transparent, you can always put a second codon and this artwork is pretty small, so it should be a quick process. I also like to use flat brushes. So here I have a variety of sizes. I do it at a minimum, you're going to need to, you're going to need one medium-sized flat brush. And you can see my biggest one is about more or less half an inch wide and then one for the little details. I also have a cup of water to keep my brushes wet and clean, and also some paper towels. And I have a salad lid for my palette, you can use a paper plate or any old ceramic dish that you can dedicate to your painting. Give you a piece, a quick clean with the hand or blow into the groups to get out any of the burning bits that might be left in there. So I definitely know I'll be using the dark green for my figure. And I'm going to begin with the neon green. I think all the other colors will really contrasts nicely against that initial landscape color. As far as you know, the colors that you choose. Because of the nature of this project, because it is very free flowing and we're trusting the process and we're trusting our intuition. I really recommend that you pick colors, the first ones that jump out at you. And you know, there, there will be some of you who prefer to use the color wheel perhaps, and to get complementary colors and that's fine, whatever you feel comfortable with. But if you are willing to just trust a little bit more, just pick the first few that, that you decide upon. And this process is, I'm going to show you, is fairly forgiving because fabric in and of itself has a lot of color theory. You know, a lot of the fabrics are designed with, by artists who using color theory. And so it's a very forgiving in that, you know, the, the piece will look cohesive even if we choose paint colors that don't necessarily go together. And we can do that by selecting fabrics that have a little bit of the colors, the paint colors that we have selected, even just a variation of the hue is enough to bring the whole artwork together. The human eye sees value difference, or contrast before it sees color. So. We are very responsive to contrast and you'll see me add a little bit of black to that darker green. And it makes a huge impact next to the green because it's significantly darker and a little bit of black goes along way. And then you'll see me do the opposite. Here in the next little section, I'll add just a little bit of white to that initial green to change the color dramatically. And it almost will turn the color into an awkward. And that's because the green I selected has blue. I didn't do it on purpose. That isn't why I picked it. I really just was drawn. Actually, that was the very first color that I was drawn to. It surprise me because usually I go for a bold colors first. So here I've blended a little bit of flat with the neon and you can see that it really changes the color. It's now it has kind of this army green, all of, all of color. And I love it. I love how it contrasts with that awkward. In particular, I just love that combination. So the main thing here is you don't need to buy a lot of paints to create a bold statement? No, even if you've just purchased three colors, you can really make those colors change with the black and the white. Which leads me to my next comment that just using black and white in an artwork will really create an interesting and dynamic piece. Especially when we're adding the fabrics later on. Or if you just chose black and white and on one other color, that could really make a big impact like red. So here for 1.5 of the Yin Yang symbol, I've decided to use the pink mixed with white. And for the second half of the yin-yang symbol, I'm going to be mixing black with the pink and also some white. And what that does is it gives us really lovely tones of gray. Actually here you're seeing me start with green, but then I quickly changed my mind, so I decided to go with the pink mixed with black, which gives me with this particular shade of pink that gives me kinda like this dark eggplant color. But I'm dividing the yin-yang symbol into a few pieces and I'm just lightening them a little bit of white and tones it down and gives me some grays. So they still lean towards that eggplant color, but they definitely have a lighter lighter tone. I also want to point out that the paper towel that I have, I have it wet. And that's because it's so much easier to pick up paint, like it's a little bit of paint goes into the group. I immediately pick it up with that wet paper towel and I just use my fingernail to scoop it up. So I'm speeding up considerably so that you don't have to watch me paint. This whole thing I think takes me about an hour and a half. I am going to paint some of those letters and I wasn't going to I was going to maybe keep I am going to keep excuse me, the very top of the piece, just natural the natural wood. I did a good job of not getting any pain up there. So I think I'm just going to keep that keep that the way it is. But I am going to give the letters and color as well. And then for the rest of the video, I'm just going to let you watch and I'll stop talking. And I'll see back here and we will add some fabric to a skits. Okay? Okay. 8. Adding Fabric: So how we add fabric to the artwork is we use a gel medium. This first one is specifically for fine art and it has UV protected int and it lasts forever and it will not yellow. It's definitely price year and it's something that you should use if you want to make your piece archival. The product will use for this project is mod podge. And how I'm going to make it a little more archival and keep it from yellowing is all varnish the piece at the end and I'll show you what product I use. This is a great product and it will last a super long time, probably beyond my lifetime. It's affordable and easy to use. I'm using a little bit in an old yogurt container. And I'm just going to use and very affordable foam brush that you see there on the left. And there's no need to shake this product vigorously. I think I just gave it a little swirl and part in the screwdriver. I just have it there because I use it to open my container that has become a little bit glued. So here are the fabrics. And generally I will use more fabrics and I'll generally use brighter fabrics. But I just want to show you that a little bit of even just tone down fabrics can make an impact. So I just want you to feel confident. It's the same approach that I take with paint. I picked the first three fabrics that drew me in and I just sort of decided, these are the only ones I'm going to use. You want to find fabrics that have prints. Obviously that's what's going to give your artwork movement. And I also like fabrics that have multiple colors in them. So even though these are green, they have a little bit of the darker blue, they have a little bit of yellow that, you know, the, the tiny polka dot has some pale blue and then obviously the cream background and all of that is going to serve to give you more contrast in your artwork. I recommend only using filters, cotton, these are definitely the easiest to work with. And you're buying a quarter of a yard, which is a small amount. So if you feel inclined, definitely buy yourself a variety of fabrics. What I recommend is you pick the very first one that you love and then go from there to find maybe a print that is a lot darker and another print That's a lot lighter. So here you can see my three fabrics have value differences. I have a super dark green one, I have that medium gray one, and then I have a much lighter one with a little polka dots. And you're welcome to use gloves with the mod podge. I just do this so that I don't have to spend a lot of time removing it. So the tracing paper is essentially to make little pattern pieces. So the fabric is going to fit inside the little pieces of your artwork. And you don't have to, you can actually just free hand cut shapes, you know, and, and in fact, I will do this and you'll see me do this. But there are some shapes that I want to fit specifically and you're watching me use a sharpie pen too. Create a pattern that's going to fit perfectly in that what I'm calling the ground. And I'm creating two pieces, one there to the right. So as you can see, each little pattern piece has a little space around it so that when I do place my fabric there, there's going to be about a quarter of an inch, more or less bit of paint all the way around. The next step is to cut out your pattern piece. You want to cut all the way around the shape and not on the line. You'll place the pattern piece on top of your fabric and secure it with a couple, maybe three pins. And so it's easier to work with. You're going to cut all the way around the shapes. So don't cut on the line yet until you've cut away from the bigger piece of fabric. Then go ahead and cut on the line and don't worry too much. If the fabric shifts a little bit. If you have to remove the pin, you're just, again, this is a very forgiving process. So even if the shape changes just slightly, it's not going to make a difference to the artwork overall. And I'm just speeding up. And I will do the same process to the smaller pattern piece on the right, pinning it. Next, I want to add some of these egg shapes to the top of the artwork. And here I'm not cutting on any kind of line. I want the little circles to be kind of amorphous. I want them all to be a little bit different. And right now I'm just placing fabric pieces, you know, wherever feels right to me before I commit with the mod podge and if your them permanently. So I'm doing a similar thing here with the darkest green. And I'm actually going to cut little bits of the flowers. And I'm sort of auditioning them like there's one on her face and decided, no, I think I'm going to actually use some of the little motifs on the fabric print to extend her hair. Like she's got foliage extending out. I'm happy with the placement. I'm going to move everything off to the side and kinda keep it in groups. And then cleaning up any little pieces of threads so that I don't adhere that to the artwork. So slowed down here in real time. So you can really see the process. You want to be generous with your application of the mod podge on the surface first. So you want mod podge under the fabric and you also want it over the fabric and you want complete coverage so that it lays really flat. And you also want to use your fingers to gently get out any air bubbles. And you can see here that I'm not adding a lot more mod podge to the top just a little bit, just to get it nice and covered, you'll notice that the fabric becomes saturated with the mod podge and I'm using my finger to smooth it out. And I'm also using the brush. And it's going to stretch just a tiny bit and that's fine. I really like there to be that paint around the fabric. It just gives it a little bit dimension and interests. You're also going to notice a little mod podge accumulating. Don't worry too much about keeping any kind of brush stroke or the same direction. Just don't worry about that because if you use a varnish like I will at the end, it actually smooths everything out so you really won't even notice any kind of brushstrokes that might be moving in opposite directions. I'll speed up now that I've shown you the process when as I add all of these tiny pieces, the tinier the pieces, the greater the challenge and especially with wearing the gloves that I'm wearing. Because the mod podge is also drawing on my fingertips. It's actually better in some ways to not wear gloves because then you can use your wet paper towel to take off any excess mod podge. So do whatever feels comfortable. The mod podge is Matt, but it is going to dry a little slightly semi gloss. And again, the varnish that I put on later is going to take care of that difference with the woods surface behind it. And the next video I will show you how I apply some finishing touches. 9. Adding Details: So what I love about mod podge and other gel mediums, professional grade gel mediums is that you can put as many layers as you'd like and you can seal the surfaces as you go. So I'm adding acrylic paint obviously to the already mod podge surface. And it's fine. And here are just, I want to point out when you're adding details, it's a good idea to also vary the sizes. So even though I'm using little dots, there are different sizes and that just is this easy way to add a little more interest. Here. I'm just adding like a little rainbow motif to the figure. And something I also want to mention is that I like to paint my edges. I feel like it just really gives it a polished look and you'll see me do this here later in the video. But something that I have to be really careful of because I opted to keep the would bear at the very top there. When I'm painting the edges there, I have to be really careful. And so keep your wet paper towel and clean it off immediately if you do, if you do the same thing. And fabric is great because it inspires. Here, it's inspiring the details. Obviously there are a lot of dots in the fabric that I selected, a lot of circles. So I'm just sort of going with it. And here I'm varying the different sizes on the little stem and it just, it all adds up to emphasize the doodle motif. For my edges. I'm just going to mix a little bit of the black with the blue so that I get a deep charcoal gray. And this just brings the piece even more together so that when you look at the edge, you know, kinda reads the same color as the letters. If I'd used straight black in my artwork, I might opt to paint my edges black. So I always find one. The darkest color of my artwork is how I usually, to select the color for my edges. I always make it a little bit darker than the darkest color in my artwork. In the next video, once this piece is completely dry, I'm going to show you how I apply varnish. 10. Final Touch—Varnishing: So the product I use is by liquid techs. And here you can see that I have satin or high gloss varnish. It also comes in mat. However, the mat, although it's great for certain applications, can somewhat dull your colors. So to keep the colors vibrant, either select the Satin, the high gloss, and actually it comes in a gloss as well. And there are plenty of artworks that I've made that I've used the high gloss matte love that look it almost looks like a resin that you apply. I like to put at least a couple of coats. I'm good. Just going to show you one. However, I recommend that you wait completely for it to dry. And usually it takes about a full day, 24 hours, especially if you live in a humid climate, I definitely recommend that you give it a full day to dry it. Do not shake the product. I gave it just a little bit of a swish around. But no shaking. You don't want any air bubbles to accumulate inside the bottle. Now here the trick is, one for sure, have a clean container that you're using and this is a throwaway container. And you don't want to over brush your surface. You want to just move the brush, give it a couple of strokes and move on. If you see that you have some puddles, don't worry about it too much, just get one stroke and keep going. Because this product is self-leveling, which is really nice. So you're going to see that once it dries, even though when it's wet, it might appear to have little bits of pooling. When it dries, it's going to just really dry it nice and even. And I usually do to 10 coats when I'm using fabric on my artwork. And it just depends on the look that I'm going for. With these smaller pieces I tend like I just said, I do too. But if I were to make a bigger piece where I have a lot more fabric and a lot more layers than I would definitely put about ten coats. And it's just because I like that look, you know, I like the fabric to look like it's under the surface of varnish. The other thing with this foreign, it's not like mod podge. You don't want to keep painting over it. You know, it has kind of a slick surface and the paintbrush strokes actually don't look as good if you do try to layer more on top of the varnish, so that is not its purpose. This is a final coat. This is really going to give your piece that polished look in why I've been using this product for wild like 20 years is because it is non yellowing. It's archival. It's, like I said, is self-leveling. It has UV protected. And so when I'm making pieces like this for classes where I'm using the mod podge. And if you've selected the mod podge as well, it can protect your artwork for a very long time. I have pieces that are very old, 15 years old, that still look like I made them yesterday. So it's a really superior product. It also does is it has low odor. You don't have to worry about any fumes. And I also love that. It's water-based. If you do notice some bubbles accumulating on the surface, what I do is I below, really firmly, really firm below and those little bubbles would disappear. And as far as the brush, if you want to keep your brush and use it for the next time, I recommend that you rinse it in water and you just soak it in a cup of water for a few hours and then rinse it again and it's good to go once it's dry. I usually just buy a package of these foam brushes and they're so reasonable that I just throw them out a lot of the time, but you can easily use it here you see me blowing on the surface getting those bubbles out. A little of this varnish does go a long way. And when I'm finished furnishing, I will put the extra from the cup back into the bottle. You'll notice with the varnish that your fabric is going to darken up a little bit, but once it's dry, it's going to lighten back to how it was, maybe the white, you'll see a little bit of the paint coming through and that's fine. I think it just adds to the look. It makes it look more cohesive. But you'll see that the piece will get that vibrant look once the varnish is dry. To finish your piece on the back, you're just going to use a D-ring and some picture hanging wire. And the next video, I will share some inspiration with this technique. 11. More Inspiration: So here's a time-lapse of a doodle artwork that I created in the same way that I showed you. I warmed up. And then I included some of the elements that I really wanted this piece to have. And I added the words afterwards. They came to me when I was wood-burning the piece and it says Her world bloomed within. And I'll let you watch the rest of this process and then I will show you some more images. And for both of these pieces, I use the fabric for the negative space. This piece started out as a scribble and quickly turned into an abstract of a mother and child. And I pictured them at a picnic in a garden. This is a doodle that I've been doing for a very long time. And you can see that just basically three or four kind of oval organic shapes really bring this one together. These next couple are from my journal pages, and I just used some pins to give them a little bit of interests in color. I really enjoy closing my eyes and just letting the pen move around a page. And I came up with the center mass of her body. And then when I opened my eyes, I saw that. Yeah, and I added the head and then the other details like what appears to be leaves and flowers inside. And this class artwork I'm going to show you is actually a 36 by 24 inch canvas. And it started with a very large scribble that I just allowed my hand to move around with a charcoal pencil. And then I saw this figure and this mother and child figure again, you can tell it's obviously a motif that I'm really drawn to. Instead of adding the fabric pieces with mod podge, I actually used the Golden gel medium because this is a fine art piece that I plan to sell. And I just want to show you that you have the tools and techniques now to create something like this and all of these little bits of fabric, and they're layered with paint. And I also love to use paint pens, and that is how I can get the more precise lines. And you can see that line work and dots and simple shapes, right? Rectangles and semi-circles and simple flower shapes all add up to create a cohesive artwork. So I want to say a huge thank you to you for taking this class. I hope that you enjoyed it and I really look forward to see what you create. Please be sure to post in the Skillshare platform. And I'd love to connect with you on Instagram as well. If you tag me when you post your doodle artwork, I would love to see it. In the final bonus video. I'm going to share my technique for creating unique and interesting doodles in Procreate. Thanks again, everyone. 12. BONUS! Adding Fabric to Illustrations in Procreate: For this bonus video, I'm going to show you how I bringing fabric to my digital illustrations and what we're looking at here are some good candidates. We've got some good patterning. We're looking for some interesting shapes and lots of contrast and that interplay. These next two fabrics are wonderful because they have that light backgrounds. So every single color really pops off of that background. And my approach to this is the actual fabric that I end up using for the project. And this is my feature fabric. And I approach it like I would a quilt. It's like this is the main focus and I'm going to bring in a couple more fabrics to show you how I use them with this one. So I'm just going to take a photo of this fabric and I'm gonna do the same thing with tumor fabrics. And then we will begin. And I decided to use the same fabrics for my mixed media class because I feel like they really coordinate well with the bird fabrics. So I'm just gonna take a couple more pictures of these fabrics. And here we go. So the first thing we're gonna do is we're going to create a canvas and mine is set to 3 thousand by 3 thousand pixels, which gives me a square. And I feel like this is great for me, for my purposes when I do print, I'm using a studio pen that comes with procreate. And I have the streamlines set to 90%. And that just gives me a nice smooth line. And I feel like it gives me control. And here I'm just selecting the color which will be black for my outline, for my illustration. So I'm all warmed up from the drawing videos I created for you. And the only parameters I've set for myself is that I am interested in creating a figure. And I'm also interested in showing you how I use fabric with my doodles. And so I'm letting her body be very generous and I'm not going to be crossing into her body with a bunch of lines because I really want there to be enough space for the fabric. One of the ideas that kind of came to light when I was doing my analog piece for you. The mixed media artwork is I love the idea of how we create our reality and I want to bring that idea, I wanted to take it a little bit further with this doodle. So I like this idea that there's a figure and she's an artist and she's painting the world around her. I'm thinking I'm going to add a little paint brush to the scene. And I really love how it kind of surprised me. And this is what I love about the unknown, right? These little flowers that are hanging like jewelry pieces from the landscape. And that was unexpected. And I'm reminding myself that this is a draft that even though the paintbrush isn't exactly as I want it, I'm going to be doing a final draft after this or excuse me, a final peace. And so all of those small things that need correcting will be corrected. So even like these double lines, I will not have that in my final piece, but it's okay to do that right now. And I'm pretty happy with how this is turning out. I debated there for a moment whether I should do a sun setting, but a rainbow seemed more appealing to me. Okay, so I thinking she's pretty cute Now I'm going to drop the opacity of that layer considerably. And I recommend that we limit our drafts because I feel like there really isn't energy too. These first drafts. And here I'm increasing the pen size, a studio pen size a little bit. And this is going to make more sense in a little, in a little while. I just like a nice thick line. So this time it's okay if the Apple pencil does not stay on the surface because what matters more here is that my lines correct. Connect appropriately and that I don't have the overlap in here. I just realized that her paintbrush I want her paintbrush to actually be a part of the mountain or in front of the mountain. So I'm gonna just start this over so that I can bring her hands a little bit lower than I had initially done. And so here you can see that her little paintbrush is now in front of the mountain. And I'm much happier with that. I'm still moving slowly. I still want to maintain the wonky newness of that first draft because I feel like that is what gives it its charm. You don't want to over Perfect the doodle. And here I'm just being really careful. Like I said, you know, stop and start as fine and want to connect these lines. I'm also closing shapes. So you know that that is important when we go to paint. If you watched the drawing videos. I'll speed up just a little bit since I'm essentially copying over what I have already done. And I think also I'm going to be needing to make some decent cleanup work. So I'm also going to just erase some overlap that I do see. Even in this final copy. I'm going to turn off the draft layer so that I can see my final piece in front and main, see where I need clean up and I can see where the mountains join that. I'm I'm just going to erase and smooth that line a little bit. And I'm gonna do this around the piece wherever I see some overlap. And I will speed up again. Now it's time to add the photo of the fabric. And so I'm gonna go retrieve it. And here what you want to do is, well, first of all, it's not a great photo and that's okay. I just want to show you how it really doesn't matter. You can drop the opacity and then you want to select that layer and then position it. So I want the fabric to be inside of the main part of her body. So I'm just sizing it and making sure that I have full coverage there. And once I've done that, then I'm going to use the free hand tool. And this is where I feel like it's just so much faster and so much easier and better than the Eraser tool. So again, I want to basically keep the fabric inside of her body. So I'm just going to guide the pencil on the thick outline. And this is why I prefer a thicker line. So that way I can see it really clearly. And I'm just going to close that shape and a drag three fingers across the screen and I'm going to hit cut, and that removes that selection. And the important thing here is to move very slowly and deliberately. The iPad and procreate and the Apple Pencil. These are very sensitive, awesome tools. And I find that if I'm in a hurry, then my selection can get a little bit off. So and also the swiping Of the three fingers, it seems like it does better if I give it a little tap and I don't know how your iPad is kinda respond, but that's what worked for me. So again, it doesn't work the first time, just give it a couple more tries. And here you can see that I have managed to remove all the fabric that I don't want. And four pieces. Okay, so this is probably the most challenging part of this is just being patient with the technology. And here I'm wanting to re-size it, but really I just need to tap it to get rid of that little windows. So it's just a single tapped the window to get rid of that little box. Now we're gonna go to the layer of fabric and we're going to remove the opacity. So bring it up all the way and we're going to bring it under your outline. So that way we don't see the edges of the fabric. And then the next thing we're gonna do, I'm actually selecting the wrong thing here. Please bear with me. Here we go. Hue saturation, brightness. So this is where we will improve our photo if it if you didn't take a very good photo like like I did, I didn't. And so I'm going to up the brightness. And I'm also going to up the saturation considerably. And once the background is and we're going to be able to see that fabric, it'll stand out more. And then you can also play with the hue. And so feel free to move that until you find something that is pleasing for you. And I'm going to stick with my original fabric choice here. Here I'm adding a new palette, so I'm going to the colors and I'm hitting on the plus sign to create a new pallet. And you just want to press on the colors from your fabric and then add them to your palate one at a time. And you don't have to. I just like the idea of keeping my peace, my artwork cohesive and it reminds me a little bit of piecing a quilt together where you have your main fabric and then you have these supporting colors that will go with the main fabric. So here I've got a selection and then in addition to these, I'm going to add a lighter. I don't see a blue in the fabric, but I do want something that's going to represent the water. So I'm going to take greenish blue that was in the fabric and I'm giving myself the lightest option of it. Again, trying to keep the peace cohesive. And then I added that to my palette. I think I have enough colors to start with, and I may add some more colors as this process continues. Let's add a layer and that's going to be our color layer. I'll keep it below or outline layer. Here. I notice that I want to finish off these little scallop. So I'm going to go back to my ink layer and just do some minor corrections. And I noticed a couple more colors that I just saw on the fabric that I want to add to my palette. So I'm just going to quickly do that. And now I'm finally ready to color the piece. So I'm going to move very quickly through this process because it does take me a little while. The way I like to go about this is I outline each shape and then I drag the paint to the, to the space so it fills up quickly. And I think I'm going to speed up even more so that way we can move on. My process for painting is I tried to make sure that I have contrast. I feel like that's the most important aspect of any successful artwork. So I'm selecting the colors based on what I am going to put next to them. So here she's getting a darker phase. So I'm going to use a much lighter color for her hair. And that's how we create interest. And the eye moves around the piece. Instead of coloring in the scallops, I'm just adding some dots and that just reinforces the pattern that I'll be using for the ground in a little bit. And for a final touch, I felt the artwork needed a third to bird. So to create my background, I'm gonna use the drawing guide grid. So I'm going to turn that on. And I'm looking at this line that's about less than half, maybe between a 3.5th of the way up from the bottom. And I'm going to insert a photo. It's that dotted photo. And I want to use that as the ground that the figure is standing on. So I'm positioning this fabric, I'm going to drop the opacity in the same way I did with the bird fabric. And I'm going to move that fabric and position it until I feel like it's lined up. And in particular there at the bottom with the dots. And then the next step I'm going to do is I'm going to take my free hand tool just like I did before. And I'm going to run my pen right along the grid line and take away all that fabric, that extra fabric and cut it away. And then as far as that fabric, I'm going to bring up the opacity again. And I can see that it's in the layers panel. It's not where it needs to be. But first I'm going to up the brightness up to saturation just a little bit. And then in the layers panel I'm going to drop it below my other layers. And I'm also going to drop the opacity way down. And here you can see I need to plug in my iPad, so I'm going to take a moment. So I'm dropping the opacity of the ground for the upper part of the background and using the pink of one of the flowers. And I'm going to use the drawing guide to just draw a pink line. And when I reached the end, I'm going to hold it for a moment and then that line becomes perfectly straight. And then I'm dragging the pink to fill in the rest of this space. And I'm going to drop the opacity so that all of my colors in my artwork really pop. Now to create just a little more interests and to divide my background, I'm going to draw a nice thick line using the green of my landscape. And then I'm going to fill in with that pink from the upper part of the background to create some more dots. And we're just repeating the patterns that are already present and that just reinforces the whole piece is very subtle. So I want to select the figure and the landscape and basically the foreground. And I'm going to group those layers and then I'm going to use my selection tool or insights, size the piece just a little bit. I want the scallops to be below that green line that I created. I don't want them to compete for attention. So I'm just nudging this just slightly making her just a little bit smaller. For the last detail, I'm going to go grab the photo of the last fabric and I'm going to use the technique that I've taught you to harvest these little egg shapes. So once again, we're going to use the free hand Tool. And I'm just going to draw a little circle around the different shapes that I want. And this time I'm going to hit Copy and Paste. And what that's gonna do, it's gonna placed one of those little selections on its own layer. I'm gonna go ahead and do this for more times. And I will speed it up for you. Each time you make a selection makes sure that you're on the original fabric or else it's not going to work. So make sure you're on that original fabric layer and then you're going ahead and using the free him tool. Five, we'll egg shapes. Now I'm gonna delete that original fabric and you can kind of see here that I've got these fabric pieces sort of all over, including one on her face. So for each layer I'm gonna go and adjust each one and you can see it's blinking there one of them and adjusting the brightness. And I'm increasing the saturation. And I do this for each piece. And I'm gonna use my move tool to then position and size each one individually. And I'm going to just do a couple of these so you can really see what I'm doing. I go to the layer, I adjust the brightness and there's that one beaming bright from her face. I increased the saturation a little bit and then I take my move tool and I'm going to be moving, just sizing them differently so that they are interesting. And I'm going to speed up a little bit here. For this piece. I'm going to put it here on the edge of the mountain and I'm just going to show you how I am using the free hand tool just to slice up a bit of it off. And I feel like it just looks like it's a little more just a part of the mountain and then that cuts away. And I'm using my move tool just to adjust it just a little bit. It was probably fine, but I just wanted it to be right on the edge of that outline. I'm going to speed up and do that same process to a couple more of these shapes. And then I do want to show you here just a little bit. You can use the warp tool as well to get a clean edge around rounded edges. And what I mean by that is here I'm going to slow down. And you can see that I'm cutting away that piece. But I can select the or once I cut away this piece and sorry, let me just finish here what I'm doing. There's a little bit of a gap. And so again, this is very minor, but you can use your work tool and then go to the far left and click on advanced mesh. And then you can just nudge your shapes to fit around those rounded shapes. So in case you come across a situation that hopefully that helps. Here's an image of the final artwork without the screen protector from the iPad. And here are some digital artworks that I added fabric to, to inspire you. I really hope you enjoyed this class. And I also want to encourage you to take pictures of textiles in your home. Could be a competitor or an interesting pillow that you have. It doesn't have to be store-bought fabric. And look forward to seeing how you elevate your doodles. Thanks so much for taking this class by everyone.