Animal Faces & Fabric In Procreate

1. Animal Faces & Fabric In Procreate—Introduction: Hi, I'm also available in a Cox. The most important stories are the ones that we tell ourselves when we're creating art. Many of us are a challenge to believe that we're even good at it. We question whether the art itself is worthy good, or even valuable. And I often think that these thoughts are tied to what we believe about ourselves. It's taken me a really long time, over 20 years of creating and teaching art to realize that whatever I make has the meaning that I'm giving it, even if it's someone else's opinion embedded in here, good or bad. If I believe it, then that's the story that I'm telling you about my artwork. And I'm experiencing all the fields that go along with it. It seems really obvious and really simple. But what I really want most is just to enjoy myself. I want to experience childlike pleasure and freedom when I'm making art. And if I'm not, then that's an opportunity to bring awareness and possibly healing to feelings of insecurity and doubt. Fortunately, art can help us with that. In this class, our focus will be faces. Are subjects today have an inherent beauty, value in worthiness. Just like us in this simple and playful class, we're going to anthropomorphized animals to reflect the inherent good in ourselves as we digitally dress them and spend time with their expressions, will exercise our imaginations to create a statement that is positive of ourselves and our creativity, we're actually going to write something empowering with words. We'll use one of my favorite mediums, fabric to create texture and to inform our composition decisions. And hopefully as we focus on these amazing faces, our message will also enjoy the process of creating a cohesive digital collage. That's the goal, pleasure. You'll have a collection of free resources to use, including photos of my own fabric that I used in the artworks and some extras. Along the way, you'll learn how to use tools in Procreate to unify unlikely elements such as feathers, fur, fabric. And of course, every single artwork in this class is going to be good. That's my story and I'm sticking with it. I'm really excited to see your artful animals and to read what they have to say. Let's get started. 2. Selecting Photos & Fabric: Pexels As a Resource: Hi, everyone. So I've made a couple of collections for this class. One is animal faces and the other one is textiles. And they don't have that many textiles and pexels, which is why I also have taken several photos for you of my fabric stash, and you can download those in the portal. But here are some very cute animal faces, and here is the black and white zebra that I used. For the first project, and the lizard faces are fantastic. And there's the chicken face. I just loved this face, and then there's the two can. But you can see that there's just so many to choose from. And I didn't put too many. I didn't want to overwhelm us. So I think I have close to 40. But of course, you can look for other animals, and here I'm going to show you some of the textiles they have, and there's the red drape that I use for the chicken. So they even have a blue jean fabric. And when you select one fabric, they give you some other options to look for some more. So check that out. It is free to join, and as long as the photo says free download, then we are welcome to use it. This is the textile I use for the skirt for M two can, and I just love the pattern on it and just that retropeel that it had. Realize I forgot to film this very important part, and that is how to download the photo. So I apologize for that. So I would hit free download in the upper right hand corner and you have to make sure with every photo that you use that it is okay to use it. And here it says down below free to use and You always want to select the largest photo that they offer, and in this case, it's the original photo, just think about it in terms of your canvas is 3,000 by 3,000 pixels, so you definitely want something that's going to be at least almost as big as your canvas, if not bigger, so you get the highest quality photo. And here then it jumps for whatever reason, Pexels doesn't let me give credit to the artist. So I just jumps here to the photo where I open in, and then you would just hit Save image. And then that automatically saves it to your photo file, and there it is, and you can easily bring that in to procreate. So once you're in procreate, you'll see with the next video how I just bring that photo in easily. I want to encourage you guys to take photos of fabrics that you love at home if you have a particular shirt that you love the print of, or I even did a two can with a dish towel, my very first one that I did because I love the pattern on it. So, you know, be creative and let's get started. 3. Creating High Contrast: Zebra: Okay, everyone, let's begin by going into our animal faces folder in pixels, and I explained in the last video how to do that. And we are going to be using this beautiful black and white image of the Zebra, not the colored one on the right hand side. You're going to click on the upper right hand corner, as I explained before, and you're going to grab the largest possible image that you can, and then you're going to click open in in the bottom right corner and hit Save image. And this automatically goes to your photos and is saved.'s open procreate and hit the plus sign in the upper right hand corner. We're going to create a $3,000 by 3,000 pixel canvas, which is a square that prints at about 10 ", and it's at 300 DPI. And once we have that, we're going to click on the wrench in the upper left hand corner and we're going to insert the photo that is saved, and that is right there. And you can see that it's a really nice big photo So here you can see I have about half the size of the canvas for my zebra head. And now what I'm going to do is I'm going to create a base with black, and this will be I will fill in the entire head shape, and I'm going to add another layer where I'm going to bring in all the white stripes. So first thing I'm going to do is I'm going to grab my studio pen under inking and brushes. I'm adding a new layer in the upper right hand corner by hitting the plus sign in my layers panel. And here you can see that I'm just doing a very simple outline all the way around this cute zebra head. And I'm not worrying about the fur. I'm not creating any kind of details at this point. This is just simply a very organic shape that I will be reducing the opacity of in just a moment. I'm dragging that color in by just grabbing the black and dragging it into my outline. And here you can see that I've already dropped the opacity in the layers panel. Now, I'm adding another layer, and this is where I will be selecting the white, the whitest white actually that I can find on the zebras right here along the collar. And so now I have white in my color picker. And I'm going to try to keep the lines exactly as I see them, but I'm not going to add in any extra detail. So I have a new layer selected, and here you can see that it is above the black layer. And here I'm just showing you how far the black outline goes. So I'm just determining where I'm going to be starting the white line. I'm going to avoid adding in those tiny little white details. I'm just going to make stripes. And so you can see here that I'm actually creating a solid white line where the zebra's actual stripe is broken up a little bit. And that's because in illustration, I feel that just the cleaner and simpler the design, the easier it is to understand it and take in the information. So here you can see that the stripes connect there at the very top. And then right where the turn is and now connecting to the mouth, I just close the shape, and that is so that I don't have to color all of my lines in. Now, the color filler isn't going to fill in every single line, and you'll see that a little bit later where I do have to go in and fill in any empty spots. And you can see that there is quite a bit of fur on the zebra's head, and I'm not going to in any way, illustrate that. Those eventually, we'll just see the black coming through. And this way we create a very high contrast illustration. And the only thing that I will do is maybe add a little bit of hair lines for the ears, and I will slow down in just a moment to show you how I do that. I'm keeping the details of the ears very simple. I just want that white shape to really contrast against the black. Added a new layer for the black fur that tuft on our head is just the shape that it is. I'm not going to add any fur. I'm adding another new layer, and I'm still using my inking studio pen, and you can see here that the line thickness is not very thick so that we create hair like lines. And I'm just using the shape and the direction of those hairs to inform me, as to the direction. And I'm kind of inventing my own lines in there as well. I'm just sort of filling in, and you'll see that once the black background is on, it's effective and it works. So let's add a new layer here. And the next thing that I'm going to do is work on the nose. And with the nose, I don't want to I want to use just a straight black to emphasize the nostrils, and you can see that here. And I'm going to use the pen just to outline the mouth, and this is all on one layer. And here I'm indicating that, I just want to use a single color of gray, and I may fiddle with the color just a little bit, but I'm just going to do a simple outline of the entire muzzle. Okay. I will add a new layer for the bottom portion of the muzzle, the bottom part of the mouth, and I'm going to choose a little bit darker gray. So between the black of the stripes and the gray of the nose, I've chosen a gray for that lower portion. Now I'm adding another layer and using a much lighter gray, and I'm taking my cues from the zebra where you saw that whiteness under the nostrils. And I'm just showing you here that that little bit of gray, I'm just testing it out. You know, do I like it? Is it effective? And, you know, again, you're the artist. So you decide the types of contrast that you want to see and if the shapes are pleasing to you. I feel like it works for me. So I'm just going to keep it. So the Zebra has black eyes. They're very dark. And for my illustration because I have that black background, I do want the eyes to stand out, the eyeball itself. So I'm going to use that same gray that I used for the nostrils, and I'm just going to create an eye socket. And again, this is something I'm inventing. And that's purely so that I see just some interest in the eye. And obviously, it works in nature. But I think for the illustration in order for that eyeball to really stand out, it needs that contrast. So I've gone ahead and decided to do that. And here I'm adding in some nice long lashes, and they don't have to look like fur. They can just be the arched line. Detail that I think adds a lot of life to eyes, the eye shine, and here I have three little shapes. And what I'm going to do is I'm going to duplicate that layer by swiping left and hitting duplicate, and then I'm just going to use the move tool to move it to the same place on the other eye. So You don't want to have the yeshin on the opposite side of that eyeball, that would not be realistic. Here now I have it in position where I want it, but I'm going to erase the excess. It looks like that yeshin is peeking out through the eye socket. That just creates a little realism. Here you can see I'm making a correction on a little bit of pixels that I see. So here I've turned on the black background just so I can see that they're now off, so I can see that there is fur along the head. And so I'm just going to add just some little black lines just to make it look fuzzy from a distance. It's not realistic, and it just for me, it just creates a little bit of softness along that edge, and I think that works. Here, I'm zooming in to show you that many of my stripes did not fill in, so I'm going to go ahead and do that. I'm going to swipe right on all my layers, and I'm going to use the move tool to position the zebra head more or less where I'd like it. And again, I don't want to be aggressive in sizing it. I may even make head smaller. So I'm just reducing the size just enough so that I know that I have enough space for fabric and the next steps. At this point, let's take just a little break to talk about now that we have this cute face staring at us, what would this cute face be saying to us? So, when you're drawing, I'd like you to think about some kindness that you can say to yourself. You know, what does your sweet self need to hear right now? It could be that I am really confident with my art. It could be the opposite of how you actually feel, but it's something that you're working towards and you hope to be, and you're working towards being more artistic or making more time for yourself or giving yourself a break. So think about some kindness that you could say, some empowering words that We'll give you a little boost. Don't overthink it. You know, this is an opportunity. Our cute animal character is saying this as a reflection of a part of us that would like us to believe that we are this positive trait. At the end of the next video, I will share my thoughts about what I wrote. In the meantime, though, I'd like you to think on what you would like your animal to reflect back to you. And in the next video, we will add some clothing to our lovely Zebra. Thanks, guys. 4. Adding Fabric To Our Zebra: Okay, let's insert a photo of the fabric, and hopefully you have all downloaded some fabric or that you've taken photos of fabric that you like in your life. And here you can see that I've just sort of positioned it kind of more or less where I think I want the flowers to go, and I'm dropping the pacity so that I can get a sense of where I'm going to be drawing the blouse. So on a new layer, I'm just giving her a poofy sleeve, and I'm then duplicating that line and using the move tool and flipping it horizontally so that I get two symmetrical sleeves, one on each side. Then I'm going to grab the S tool, the selection tool in the upper left hand corner, and make sure I'm on the fabric layer, and I'm just going to go around the outline straight across the neck, and I'm going to complete the selection and then swipe three fingers and hit, cut and paste. And that cuts the fabric onto its own layer, and I'm deleting the background. So we have a blouse and now I'm reducing the opacity and I'm doing that so that I can create the neck line with the selection tool again. So I'm going to go ahead and grab the S tool. I have free hand selected below, and I'm just going to do a gentle curve that I'm going to close into a semicircle, swipe three fingers and hit cut and paste again or excuse me, not cut and paste, hit cut. And here you can see, I have a little bit of extra, so I'm just using the eraser to cut away that little extra fabric that's peaking out beyond the line. Now I'm going to add in an extra white stripe, and I'm just inventing it following the guide of the other stripes above just to fill in that space. And I do this so that too, we have that stark white zebra line against the dress, and that just gives a little more contrast, and I'll be adding a collar in just a little bit. I think this little Zebra needs her arms. So I'm going to invent these as well. And I'm going to use bright reds that you can really see the arms clearly. Eventually, I'm going to give her stripes. But I'm just doing a gentle curve. That didn't look good. So I think I do need to give her a little bit more of an elbow. And I'm just sort of thinking off the top of my head, Okay, what would a very simplified hoof look like? I could give her hands. There would be no problem with that. Do what's simple for you, what's easy for you to draw. And here I'm duplicating the arm. And again, I'm using the move tool and my flip horizontal to place the other arm in position. And here I'm indicating that I'd like one little hoof to rest on top of the other. So right now, I'm just cutting the little shape of the hoof so that I can position one underneath the other. And then I will use the pen to fill in the shapes. So I'm just trying to make my life as easy as possible here. It's not a really important detail that has to be super accurate. You know, we get the idea that she's got these little hooves for her hands. Okay. So now I've given her the colors black and white for each of her arms, and I am next going to put in a background. So add a layer to one arm and hit clipping mask. And this way, whatever we do to that particular arm, the stripes will stay on that layer. And here you can see that I am having to close all the shapes in order to drag the color in there or else it doesn't work. So make sure you close your stripes. And here I'm just taking my cues from the stripes on the zebras head. So I'm going to go ahead and speed up and you can see that I'm really varying the lines have more space between them. Try to really try to work on making every single shape different than the other. During this next section, I actually switch the colors of the arms. So it might look a little confusing as to what I'm doing, but I'm going to explain why I changed the colors of the arms where her little white hoof is kind of looking like it's cupping half of a flower. I don't feel like there's enough contrast against the fabric background. And so I think the fix for that is just to change one little hoof, the one that was holding the flower, To Black. And so all of this is me correcting that. And that way, it looks like there's a little more contrast. I mean, this is very this is Manutia here, but I feel better about it. So anyway, I will continue with my stripes. So the next thing I'm doing is I'm going to use the background as an interference with the fabric, just to see what kind of cool effects I might be able to get. So I'm on the layer of the fabric, and I'm just going through my different options starting at the top, and I'm just going to scroll through and just to see if there's something that looks more interesting to me. And this one, multiply actually does look more interesting to me. Here you can see that the background and the fabric are interacting together and actually prefer this linear burn just a little bit more and this is just a way to make the illustration even more cohesive. And you know you may prefer just the straight fabric, and that's fine, but I like this effect. And now what I've done is I've gone and grabbed the sketching pencil, excuse me, the six B pencil, which is under sketching in the brushes, and I've selected a very pale pink. You can see that it's pink because the white of the zebra stripes is very white in comparison. And I'm just adding in some little details into the fabric. And this is just something that I like to do just to keep the eye moving around the composition. I'm not going to add this kind of detail to every single flower, but just a few throughout the blouse. I still have the sketching pencil, but now I've selected a color that is the same as the fabric, and I'm just softening the edge of the blouse. You can see that when I made my selection with the S tool earlier, it left a jagged edge. And so what I love about the six feet pencil is that it's very similar to fabric. It just creates it has that texture. It's very similar. So it's a great way just to soften your edges. Now, continuing with the six B pencil, I'm going all the way around the blouse, and I'm not going to outline the zebra zebra itself. I really love the contrast between the inking pen and the six B pencil. So I'm going to continue using the six B pencil here with the collar. And you can see that there's a very, very small black line between the collar and the zebra. And that's by design. And that's so that very light pink just has a little bit of contrast against that black line instead of being right up against the white line. And here I'm doing the same thing with the sleeve, and then I'm adding little black dots or the dots are the same color as the black of the fabric or the very intense dark brown of the fabric to just give a little bit of detail. And I'm just doing the same thing on the other side. Okay. So the next step is to add some words. And hopefully by now, you have come up with your empowering reflective statement. So here you can see that I selected the wrench tool on the upper left hand corner. And I really love anything that looks a little bit like a typewriter style. So I'm just going to stick with Courier and variations of courier And because the zebra and what she is wearing is pretty bold, I'm going to use the font as an opportunity to create more contrast. So I'm selecting a lighter font. And something that I've been working with is really embracing my dark side as well as my light side, right? This whole class is about the light side of ourselves. But I think it's important to acknowledge that, you know, we all have a dark side as well. And so, I feel like the Zebra with the high contrast that she is with her black and white stripes really reflects that idea back to me. And what do I mean by my dark side? For example, you know, we all have the ability to feel jealous or greedy or selfish. And I think that it happens more often than not that, you know, we put ourselves down for having those really normal feelings. So this is something that I'm trying to just be softer with myself about. And I find that to the extent that I do that, I actually feel like I can really embody the positive side, the light side, you know? So I think my dark side just really wants my approval. Okay, so you want to add the texture or the flourish in one fell swoop. So I'm not lifting my pen at all, and here you can see that I'm dragging it, so it's just above the pink layer in the background. Now, of course, I have to change a little bit. I just decided to throw in a little bit lighter pink background. And here I'm playing now with the Victorian flourish and just seeing what shades I'm more interested in. Again, I mean, I can do this for so long, you guys. But this is one I like because I feel like the zebra is really standing out, and that is what matters most. Okay. In the next video, we're going to meet a curious chicken and see what kind of dramatic drape we can create with her. Hope to see your projects posted, you guys. I'm really looking forward to seeing what you all create. Thank you. 5. Adding Drama With Drape: Chicken: Hi, everyone. Welcome back. I have my $3,000 by $3,000 pixel square selected from my canvas, and now I'm going to insert the chicken head photo from pixels. And here, I'm you know, just like in the zebra, I'm trying to size it. I don't want to be aggressive. I want to kind of eyeball how much space I may need for the skirt that I'm thinking about for this chicken. So it looks like it's about a little less than half. So the main thing I want to focus on, the chicken has a lot of complexity. And I think the message that I want to get across the most is let's simplify as much as possible and we can still give this little chicken a lot of character. So let's begin just like we did with the zebra on a new layer, we're just going to do on an entire outline. And because these feathers are thicker, a little more pronounced, I'm going to go ahead and highlight them. I need a little bit narrower pen, and this is my studio pen that I used and it's in the inking folder in the brushes. You can see here that I just decided to come straight across the red. I don't even know what it's called. It's unfortunate. The little red I'm going to call it her head dress. Because I'm going to be adding the red on another layer. I only need the general outline of the head shape, and then I'm dragging in that color, and clearly, I've got some open spots here. I'm just going to make sure I've closed all of my lines and then go ahead and drag in. Now I'm going to drop the opacity again just like I did with the zebra and I'm going to start layering. But this one's a little bit different. Like I said, We have a lot of parts, and let's see what we can do. I want to use three colors of the reds. So I want a dark value, a medium value, and a light value. The parts are going to each have their own layer. So here I'm using a medium value of red, and you can see here that there's this little ridge. And so I'm not even going to make it bumpy. I'm just going to outline that ridge. I'm just going to create two parts. So one is going to be more of an outline, and then the other part I'm going to fill. And now I'm going to drop the opacity of this and don't worry. I'm going to have an outline in between those two shapes, but I just want to get a sense of the main shapes. So now I'm going to create a new layer and I'm going to select my darker red value. And so I'm going to just draw a little line between this heart shape. I'm seeing sort of this large heart shape that I'm dividing. And then I'm just creating a little bit of extra here on the top. And then I'm going to use that same color to create a shape behind the beak. So just like we did with the zebra in the last video, I'm just creating moments of contrast. So here I gave this little chicken some nostrils, and I am going to make the beak yellow in a new layer. But for now, I want the yellow to be against this wine colored background. So I've dropped the opacity, obviously, and I've added a new layer, and now I'm going to go ahead and I've just selected the yellow right from the beak. And in this way, we're creating lots of contrasts because there will be a few layers. I'm just using the colors of the chicken, so I just grab the color from the beak and here I'm just creating the edge of the top beak where the top and the bottom of the beak meat. And in the same way with the zebra, I want to create something for the eye to contrast against, and there are a lot of colors in this eye area, but I'm just going to keep it fairly simple. There's my lighter red values. So you can see I have three red values happening, and now I'm just repeating the same values for the different parts. Here, you know, you saw me put in the lighter pink as a first layer, and then on top of that the burgundy, and then that is going to contrast against the yellows of the eyes. And I made the eyes slightly bigger than what they actually are on the chicken. So you can see here that you know, we took a lot of complex pieces and really made them very simple. And remember, I mentioned this is the outline part. And so I'm just going to fill it in with that lighter value, and it gives the appearance that there's a fold there This is my trick for simplifying feathers. I'm just going to create rows of these semicircles and just stack them. So I also added a little bit darker value of the body yellow to the head, and so that we see a little bit of an outline peeking out. And these do not have to be straight. In fact, I think that they have more personality when they're a little bit wonky. Excuse me. So the main thing here though is the value differences. So I used the body as my guide, and then I picked a darker value and a lighter or excuse me, two darker values than the body, and then I'm going to make another value, which will be lighter than the yellow of the body. And that'll be the next one that I make. I probably could have been more efficient and started at the bottom and layered them that way. So I apologize for that. But I just get excited. I think it's cute and I just get going on this. So here you can see, I duplicated one of the layers that medium yellow value, and I'm just adding another little U shape there at the end for that one. Okay. Once those are all in place, I don't think I added shine to my eyes yet. I'm going to do that. And here you can see, I'm just increasing the size again if I had been more organized. I see the feathers that I did on the left, I think I wanted there to be a little more symmetry, not exactly the same, but a little bit more balanced. Here you can just see I'm filling in any spots and correcting the curves and making sure that things look a little bit cleaner. And now I'm going to go ahead and add my little shine, and I'm just going to do exactly as I did with the zebra, duplicate them, and move them into place and then remove the part that we don't need. So now let's move on to the skirt. So my approach for the skirt is to do an outline first, similar to how I did the sleeve for the zebra, how I just did one side and then duplicated it to create a symmetry for the other side. I'm going to create one shape here, and then I'm going to at a semicircle for the middle. And this is going to be the outline for the skirt. So it's a little bit different. It's not necessarily a sketch. I'm actually outlining the drape. I find that it's just easier to outline it this way than it is to get a really steady straight line on the drape once I've cut it out of the fabric. Next, I'm going to insert the photo of the fabric that I have in my photos, and now I'm just moving it into position. Determining what folds I like best. You guys, I just crack up when I make these kinds of things. It's just I have so much fun. Okay, so let's gather her skirt with the move tool and select warp and advance mesh. And this is really fun. Just moving these little anchor points inward towards the waist, just so that we mimic the curve of the outline. Next, make sure you're on your fabric layer and use your selection tool to go all the way around the fabric, including the waist, close your shape. Use three fingers to hit cut and paste. Okay. Here I'm selecting her body, and I'm separating it a little bit from the skirt to create her belt, and I just used the same pinky red from her face. And now I'm just adding a little belt buckle with some white dots. And I'm moving quickly through these details because I feel I've covered I want to be mindful of your time. Here I'm doing some funny little chicken legs, and I'm just going to be adding some fun little boots. And You know, here's the thing. I just really believe in the power of contrast, I keep repeating myself in every single video I do on Skillshare. But you know if she's dressy, then I want her to be in boots, you know, and that's just kind of these are the little things that just make me happy and make me smile when I look at these quirky illustrations. And I also like that she looks just a little bow legged to me. And here I'm going to play with her leg placement for a little bit. Okay. So now I will go over the background with you and I like to use repeating elements. So I'm going to use the semicircles of her skirt to think about the design that I want to do on the ground, and I'm also inspired by her feathers. So I have the bottom of the skirt and the feathers that have similar shapes, and right now I'm just playing with the brightness and the colors. A little bit. And I'm grabbing a little bit darker value, and this is a new layer on top of the background, which is the floor, and you can see that I'm just mimicking the shapes. And I want to make sure that they are a little bit lop sided. I'm just looking at what the designs are in my illustration so far, and I just want to repeat that. And the same thing with the texture on the background. I really love newsprint and you'll find that in textures. Just like the Victorian background in the Zebra, you want to do this all in one pass. You can see that I have it a little bit darker in some areas a little bit lighter. I'm trying to keep it a little bit lighter directly around her and then a little bit darker in the corners. That just creates a little bit of movement and a little bit of drama in the background. Okay, so you can see that I didn't give her arms, but I feel like she needs to be holding something in her mouth like a flower. And so here I'm just using all the colors. I'm just repeating all the colors that I've already used, and they're either lighter or darker values of what's already here. And same with the flowers. So I'm going to be selecting the colors directly from her face, and then I'm just giving them a little bit lighter touch. So I'm using the circle palette to select lighter values of the colors I already used? And that just keeps the illustration cohesive. I don't need to use any green for the leaf. I just want to use the colors that I already have. Then let's think about what it is that she's saying to me. What do I really want to believe about myself? I am creative. What else? I am talented. Yes, and I'm passionate. All true things. Do I always feel this way? I do not. But you know what? It's something that helps me feel good about myself and believe in myself more. I hope that you find some empowering words for your second illustration, and I'm really excited to see it. So please post it in the portal. Thanks everyone. In the next video, we will create our cut two. 6. Retro Vibe With Fabric: Toucan: Hi, everyone. Welcome back. So I am just flying through the placement of our two can on our Canvas because I have covered all of this initial tracing of the animal head and the importing of the photos into procreate in the last two videos, as well as importing photos in the pixels video. So I want to be mindful of your time. The two can is the easiest animal to trace because he has the fewest pieces. So please review the other videos. What I want to focus on here is just the different fabrics, I'm using two different fabrics here, and the two can just happens to be a little quirkier. So I'm going to focus on that in this video. So I've brought in this fabric here, and this definitely is an older fabric in my fabric stash collection. And I just absolutely zeroed in on it because it just sort of reminded me of the two cans head shape, and it kind of had that eye shape as well. So I'm going for it in this project. I'm not sketching it. I'm just using my tool, my selection tool to go ahead and cut out the shapes that I want for the clothes. And hopefully, by this point, you're going to feel a little more comfortable to do this as well. And here you can see that I'm using the actual shirt fabric to create a little sleep. Instead of hitting cutting and paste out of that fabric, I hit duplicate. That way, I don't cut a big triangle out of the shirt. And that is on its own layer. Now I'm going to do the same thing on the left. I'm just going to draw a simple little triangle, and I'm following the outline of the curve of the shirt, and then I'm doing it again, and then I swipe three fingers and I hit duplicate. And then the next thing that I want to do, and this is just a little thing that we learned with the chicken is I'm going to actually adjust it using and it's very minor, but you can see that it's not lining up perfectly. So I'm going to hit warp and advance mesh, and then I'm just going to pull just that little bit so that it looks a little more natural. Okay. Then I pinched all three layers so that they're on their own layer. I'm on the wrench, and now I am not the wrench, excuse me, I'm adjusting the color and the hues. And here you can see that I can really alter the fabric, the look of it, you know, so this is something that I encourage you to play with because these fabrics, I mean they come in the colors that they come, but here in procreate, it's magic. You can change them to be whatever you want. I've jumped ahead a little bit. I want to show you that I created this color with three shapes, the brown being the biggest, and then the very pale blue. Although the shirt sort of reads white, it's actually this very pale blue. So I just grabbed the colors directly from the shirt, and you can see here that I'm just doing some cleanup, and you can tell that I really love collars. And I just feel like it's a great way to add you know, personality to whatever clothing they're wearing. Okay, now I'm bringing in the skirt from the Pexels collection. And what I love about this is that this is really going to make this two can much more retro, I think. I've dropped the opacity like I've done with all the other fabrics, and here again, I'm just going to use my selection tool. Right now I'm using the move tool to adjust it, but I'm going to use the selection tool just to do a very simple miniskirt type thing. And I love, like I said, the contrast between the texture of this textile and just the cotton fabric. Okay. Now, I'm adjusting the colors and the colors are just amazing. Ultimately, I do want there to be a little bit of green because of the shirt, and then obviously the two can also has that limey yellow going on. This combination is working for me right now. So as I moved the skirt layer beneath the shirt, I realized there's this little wave, and it's like a little happy accident. So I'm going to go ahead and select the move tool and again, use the warp and advanced mesh to just kind of play with little wave in the shirt. So for the legs and the arms, I'm keeping them just basic little stick figure type legs and arms, and I have just this cute little shoe with just a little heel, and I've just decided to keep it even very simple. But I duplicated the layer, as I've done in the other videos. And with the two can, I'm just going to give her a little purse and some flowers to hold. And You can see here with the little hand. I hope you notice that. I just gave her very simple three little fingers. So it just looks like the little hand is grasping the purse and the stems. So the fingers are on their own layer separated from that hand. And then the same thing as with the chicken, you know, I'm just using the colors that are already in the colors that I'm, you know, really liking already in the skirt. And the next thing I want to address, I mean, this is all, you know, pretty straightforward, but the shirt, right now, I'm changing the colors again because I'm kind of lazy and that wrinkle. Is really stark. And sometimes the wrinkles work in the fabric, it kind of gives it just that contrast, that realism as opposed to the illustration. But in this case, it's not really working for me. So I'm using the six B pencil in sketching and I've just picked up the color from the back, the backgrod of the shirt, and that is what I'm doing. I'm not erasing. I'm actually drawing in on a separate layer on top of the shirt layer. I'm drawing in using that pencil the same way I outlined the zebra in that video. So here I'm just, you know, it takes a while to do this, but it's worth it. You know, like I said, I just I didn't look right to me. To keep with the retro feel, I decided to use disco under vintage in the brush library. And here I'm just giving just some little details. And I believe this is the gel pen actually in inking. It's not the studio pen. I did use the studio pen for everything else, but I like this little gel pen. It just gives it it has that little bit of a wave in the line. Here I'm just playing with some ideas. But ultimately, I just decide to keep it pretty simple at the base of the blouse, and here I'm just going to add some very organic little seed shapes around the edge of the collar just to add a little bit of contrast and interest. I really enjoyed sharing this technique with you. I hope you enjoyed it as well. Please post your projects in the portal. I'm really excited to see what you create. And as a final note, I wrote here that I am everything I need, and I really believe that we each are everything that we need. We have all the creativity that we have right inside of ourselves to create amazing artwork. And I'm really happy and excited about skill share because I think it's just an incredible place to learn so many things, right? Anyway, thanks everyone. I really enjoyed the class.