DRAWING STRUCTURED COATS IN PROCREATE

1. Introduction: Hi, everyone. I'm Alia a fashion Illustrator, and welcome to my class dedicated to drawing structured tailored coats. In this class, you will learn how to draw such type of coats. How does a rigid wool behave? What type of creases and folds do we have in such garments? You will also learn how to render wool, how to show realistically looking shadows and highlights. I will show you how you can add a pattern to your coat. I hope that you'll find this class helpful, and let's get started. 2. Drawing straight structured coat: Okay. First, let's take a look at the body shape. We can see that the left side is stretched and the right side is compressed. This will affect our coat because where the body is compressed, there is a force pushing against the fabric. I already have my sketch ready. You can download this file from the project section. I'm deactivating the rendering of the body and decreasing the opacity of the sketch so you can clearly see the code that I'm drawing. I'm creating an extra layer and we'll start with the color. First, I draw this line that curves behind the neck. Then I draw the color line at a small distance from it. This distance implies the thickness of the coat. The color shape can be different depending on the design. Next, I draw the lapel. I'm placing it at about a 90 degree angle. And then finishing the color. Again, the color shape depends entirely on the design. For example, if I want the color to be narrower, I can simply change the angle of this line by selecting it and adjusting it. Then I finish drawing it. I continue this line down to the waist and finish the lapel. If you want the lapel to start a bit lower, you can select it independently, use free transform tool, move it down slightly and then redraw the color connection. Here it is. But I'll return to my previous version like this. You can also create a notch lapel by drawing this small opening between the color and the lapel, like this. Let's keep it this way for now. Next, I select everything, go to the actions menu, choose Add, then press copy, paste. I flip it to the other side and position it so it follows the shape of the upper body nicely. Then don't forget to merge this copied layer, merge it down, we have the sketch on one layer. Next, I draw the shoulder. We have a structured coat. If it was a soft wool, we would draw it this way. But because it's a rigid wool, we draw it as a line that curves a little bit beyond your arms. It's important to draw the shoulders beyond the arm line. Because if you stop at the shoulder point, then it will look like a silk rope. Even if it's a fitted coat, attach the sleeves beyond the arm point. This bump is very typical in tailored codes. It can be intentionally bigger or you can make it a bit flat, but it's important to make it. Another important point is the resistance of a tailored coat to movement. Structured garments don't fold very easily. Our low body, the hips are inclined to the left, so the low part of the jacket will follow that direction. The upper body is inclined to the right, just like the shoulders. This creates a clash between these two parts at the waistline. So the location of this clash is not random. The waistline is where we have the most compression, where the force is strongest. As a result, we get these shadows and this fault here. The shadows, they look like they are more triangular. Let's draw the other half. So I'm redrawing this hemline so it flows nicely from the left to the right. Let's change it here a bit. As you remember, from the beginning, the left side of the body is stretched. So here I draw the jacket as if it were hanging naturally. Almost like it's on a hanger without compression. The only adjustment I want to make is to make it slightly wider. I select it and then just stretch it a bit to the left. Since the foot on the left side is bent while she's walking, the arm on that side moves forward for balance. So the sleeve here is not compressed, it's in the front. I simply draw it as a tube position slightly on the front plane relative to the jacket. I can draw the sleeve and then erase side of the jacket that's behind it. The right arm is moving backwards, so we don't see the whole sleep. When you pull your arm back while walking, the part of the body that moves the most is the shoulder. The folds comes from the shoulder area and we have some folds there. You see that the sleep is like a tube in the low pad and above the elbow, we have these folds. Look at how triangular and sharp these folds and shadows are very typical for the rigid wool. I want to widen this part. I'm selecting the leave separately and just stretching it a bit to the side. To avoid too much symmetry between the two sides, I slightly changed the outline of this side and also changing the lapel a bit. Now we can add details like buttons and the pocket flaps. A When I draw the pocket flap, the low line goes slightly beyond the outline of the jacket. This shows that it's not flat against the jacket but slightly protruding. Because the left arm is in front, it creates shadows on the jacket underneath it. There can also be some compression at the top where the sleeve presses against the jacket. We can add shadows there as well. I add these shadows early because it will make the rendering stage easier later. If you want to draw a long structured code, the process is exactly the same. You simply extend the length following the same lines. On the right side, you just decrease the ankle slightly so the code doesn't become a shaped. You can increase the size of the jacket, especially if you're drawing oversized coat. You can use transformation tool and stretch it. You can also use a warp tool to adjust shoulders or other parts of the coat. So here it is. In the next video, we learn how to draw belted structured coat. 3. Drawing belted structured coat: In this coat, I also start from the color. I draw a line that begins behind your neck and extend it down to the waist. Then at a small distance, I draw a second line to imply the thickness of the fabric. The angle of the color and the distance between the lines depend on the shape of the color itself. Now, I draw the lapel. This is a very similar process to the color and lapel drawing that we did in the previous coat. Next, select everything and then go to Actions menu, copy and paste and flip it horizontally. Then I position it so it looks balanced. After that, I erase the part of the lapel that sits underneath and merge the layers down so everything is on a single layer. Here I want to soften the outline of the color a bit because it's quite wide and it should bend slightly inward. Now I draw the shoulders and I extend the sleeve slightly beyond the level of the arms. As you remember, I do this even when I draw a fitted coat and I go even further if the coat is oversized. The volume is intentional. Then I draw these sleeve bumps. Next, I add the belt. Notice how the shape of the coat barely changes until the waist and then it suddenly turns toward the belt line. It's not a gradual change of direction. Codes as it normally goes downwards and then we change the direction to the belt line. At the belt, we get faults that I call leaf faults because they look a little like leaps. Rigid fabrics do not create many soft folds around the waist, the way soft wool does. Instead, they react to compression in this very specific way. Below the belt, we also see the stretched leaf shapes. Overall, the silhouette begins to resemble a little bit of an hourglass. The fabric becomes narrow very suddenly at the center and then it returns to its original shape. Rigid fabrics resist deformation, so they keep their shape as much as possible. The main change happens only at the waist. At the bottom, let's just make the hemline a bit different because the position of legs is different. Now I add the pockets. So let's move them slightly higher, the right side one. Just repositioning it. Next, let's try drawing a bent arm. When the arm is bent, the elbow moves toward the back rather than to the side. Because of that we get an like shape below the elbow. It looks a bit like a small mountain. Then we see another very common fault pattern for long coat sleeves. I call these X faults. They look like X, the metal part of the X. What happens here is that the small section of the sleeve remains straight where the sleeve meets the pocket. So here we have these shaped shadows that correspond to those shaped faults. Hopefully, this makes sense. Sometimes I like to name fault patterns because they resemble familiar shapes. Of course, you will see many different faults and shadows in clothing, but certain patterns repeat again and again. Now I erase the arm construction so you can see the folds more clearly. The elbow would be around here. You can see that above the elbow, the sleep is relatively smooth and most of the wrinkles appear below it in these shaped folds. In the previous example, we had a very still sleep with almost no wrinkles. Here I want to show a sleeve that is longer and slightly wider. So we can push your arm more forward. So it's bent a little bit at the elbow so we can get some wrinkles below the elbow. For example, if she's holding some back like this, moving that back back and forth. Another very common wrinkle appears above the elbow when the arm is bent. I call these Mercedes bends wrinkles because they resemble the three pointed shape of the logo. They stretch from above the elbow toward the shoulder. With that, our coat is ready. Our belted coat is complete. 4. Flapping edge and hand in pocket: All right. In this example, I want to show you the gesture when the hand goes into the trouser pocket. Let's start by drawing the trousers, the upper part. When the hand goes into the pocket, the arm pulls the entire hem of the coat backward. I want to show how this looks and how we can draw it convincingly. Here's the arm. Again, you can see that the elbow is positioned toward the back, not on the side. I'm not drawing it like this because that would be a very uncomfortable position for the model. We have this basic scheme. I don't need to draw everything very precisely at this stage. Now I will use a copy of the code that we drew in the first example. I copied the color and Lapel. I deactivate the copy, create a new layer for the sketch of the code. Please ignore the large number of layers that you see here. I somehow decided to draw everything in one document just in one project. So this is how the inner line of the coat will go. It moves downward, and then it turns slightly above the hand. Next, I activate the layer with the color and lapel, and I position everything along that line. Of course, I need to adjust the bottom so it bends along the same direction. And now I merge the Lapel layer with my sketch layer, so everything is on one layer. Okay. Next, I draw the shoulder line extending it slightly beyond your arms. Then the coat will more or less follow the direction of the central line. I want to deactivate the sketch of the body. I don't need it right now so you can see everything more clearly. Also let's erase the arm construction lines, especially at the elbow. The low part of the coat follows the direction of the low line of the lapel like this. Here we see a clash between the two halves of the coat. Each side tries to follow its own direction and because the fabric is rigid, this tension creates a visible break between them. If this were a fitted coat, you would simply draw these lines a bit closer to the body in the same way. But you would still see this clash between the two shapes, which resembles the letter Y. I will keep the loose aversion because I want the coat to feel slightly oversized. I'm drawing everything at the distance. Next, we continue the hemline. It is pulled downward, as you can see. We can simply continue the inner line of the coat and the line that comes from that point of tension between the two halves. Let me erise your arm here very typical this indentation at the elbow when the arm is bent. Here we also see the faults that I call Mercedes Benz faults, just above that indentation at the elbow, very common fault, and I stretch it upward toward the shoulder. On the both sides of that Mercedes Benz fault, you can add shadows. And the central ridge is erased part. Now, let's draw the pocket of the trousers and I erase the palm because we already know that the hand is inside. At the entrance of the pocket, I draw again that small tube like fragment, the X shape or x fault. And here we have those mountain like faults or shape. This sharp falls. If you see an awkward empty space, you can always add another small triangle to make the rhythm more natural. Next, I create an extra layer above my sketch because I want to test the shape of the coat opening. I pick the bright blue. This opening is too wide. Since the code is heavy and structure, it doesn't need such a large opening. This shape works better. Now I return to my sketch layer. I reduce the opacity of this triangle and simply follow its outline on my sketch layer. Now we can delete or deactivate that layer. But you can delete it. You don't need it anymore. Then I add an extra line here. Because our code is revealing its inside and there we have this woolen part and then there is a lining. Then I draw the ham line. A next, I copy the color and lapel from the left side, flip them horizontally and position them. If something doesn't fit perfectly, you can simply erase the part that doesn't work and redraw it. Now I merge everything that belongs to the coat. Here we have a small fold so we don't need a thick outline. Instead, I add subtle shadows along the lapel. Okay. I add some shadows at the back. Now I copy the shoulder on the left, then paste it, flip it horizontally, and position it the way that I like. I copy and paste to make more because of the dimensions. Here again, we see a soft clash between the two parts of the coat. The low pod tends to follow the direction of the fabric plane toward the side, so we get some shadows there. Now, let's draw the sleeve because she's stepping toward this side and her leg on the side is straight and at the front. This arm will naturally be pulled backward. I add a few wrinkles about the elbow. Wrinkles here and your hand will also be closer to her body. Since the coat is stretched to the side, the arm tends to stay as close to the body as possible. That's it. This is how you can draw a flapping coat. 5. Straight coat rendering: base & shadows: We have our coat ready and I create a new layer and call it base. This layer will hold the base color. Then I create another layer above it and activate clipping mask. I change the blending mode to multiply. And call this layer shadows. Next, I create one more layer above it and set it to screen mode. I also activate clipping mask, so it's clipped to the base layer as well. I call this layer highlights. These are the layers we usually work with when rendering skin or textile. Now I reduce the opacity of the outline layer, then I pick a light brown color and choose the choke brush from the calligraphy set of brushes. With the brush size around ten or slightly smaller, I start coloring the coat. I like using the chalk brush because of its texture. It gives a nice hand drawn effect. Next, I move the outline layer to the top so I can clearly see it and avoid painting over it. I stay on the base layer and simply color the entire coat. All right. Now our coat is ready for shadows. I switch to the shadows layer and pick out shadow brush. In the tools and setup video, I show how to create this brush, but you can also download it from the project section. The link is there. I begin by adding shadows along the sides of the sleeves and on the shoulders. I also want to reduce the opacity of the coat outline to a minimum, so the shadows remain the focus. Now on the shadows layer, I start drawing shadows inside the faults. Usually, whenever we have a highlighted or elevated area, there will also be shadows on both sides of it. I add shadows along the sleeves. Here we have the intersection between the top and bottom parts of the coat. So inside that area, I add a shadow as well. And Okay, with lower opacity and wider brush, I softly add some shadows on the lapel. Then I increase the opacity and reduce the brush size to add stronger shadows under the lapel and under the color where we have the notch. Next, I add shadows under the pocket flaps. If any shadows appear where they shouldn't be on the pocket flaps, you can just erase them. Then I add shadows under the buttons. After that, I reduce the opacity, increase the brush size, and add a soft shadow on the shoulder. Sometimes while drawing, I feel that the fabric could naturally increase in certain places. In those areas, I add very soft elongated shadows so the coat doesn't look too flat. So for example, here, she's stepping, she's pushing the coat forward. So maybe we might have some shadows that are more or less parallel to your leg. This understanding comes from observation. I recommend looking at many different codes that you like and drawing them, but you have to be very present while drawing because you have to analyze and think about why shadows are here, what shape. Now, I pick a slightly darker tone and reduce the brush size to add deeper shadows under the color and under the lapel. This area usually has a very dark shadow. I also add more shadow under the lapel. Add the same dark shadows on the pocket flaps. A next, I pick the six B pencil brush. I use it to partially outline the buttons and also add small shadows inside the thread lines. Where these pocket flaps are attached to the body of the coat. Then I switch back to the shadow brush, increase the brush size, and reduce the opacity. In the deepest parts of the folds, I add slightly dark shadows to create more depth. So I extend some shadows here as well. Here, also, we can deepen the shadows on the sides of the coat. Often where the sleeve meets the body of the coat, the fabric creates a small indentation because this is a thick fabric, the seam sits slightly inside the surface, and this indentation creates deeper shadows. We have the shadows along that line where sleeve is attached to the coat. Okay, so I'm adding more shadows on the sides. I'll always zoom out to see where you feel like adding more shadows. You can always use Smudge tool to soften the shadows to stretch them as well. If you feel like some area with shadows too dark, you can select that area and in adjustments, reduce its brightness. Overall, I'm happy with the shadows. In the next video, we'll add highlights and the details. 6. Straight coat rendering: highlights: Okay. Now I go to the highlights layer. From my skin tone palette, I pick a light yellowish color and you can download that palette in the download section or just pick some very light yellow. With high opacity and a thin brush, I start adding highlights along the edge of the color and the lapel. I'm using the shadow brush. These areas catch the light because the fabric bends there and the raised edges reflect the light. Then I use a smudge tool to soften the highlights. Then I add highlights along the lapel. Even along the seam lines where the fabric is slightly indented by the stitching, the raised edges catch light. I add thin highlights there as well. Here, the fabric is folded, so the top edge of that fold receives light. Here we also have another fold, the top of that fault is illuminated. So here as well. Okay, here we have stitching as well, so we add reflection on those elevated parts. And whenever you have the corner, like the corner, the pocket flap, you can make it a little bit brighter. Then I add highlights on your shoulders. Then I increase the brush size and begin adding broader softer highlights. Whenever the highlights start to look too noisy, simply use the smudge tool to soften them. In general, when you have shadow shape, you can often place highlights around it. Here we have deep shadows and just on the side, we have highlights and I just in some ways surround it, but very softly with highlights. Now, I use the smudge tool again to soften most of these highlights so they blend smoothly. The coat fabric is quite smooth and mat. It's not silk, the highlights should be soft and subtle. If you feel that it's too strong, you can either reduce its brightness or smudge it. Next, I take the coat outline layer and reduce its opacity. Then I create a new layer above it. I'm using six B pencil and one of the darkest browns from this coat, and I'm going to draw a clean outline. On this layer, I can also draw the details such as any stitching that is visible or buttons. In the light areas, especially where the fabric is strongly highlighted, I use a lighter tone for the outline. This keeps the line soft and more natural. I work with two different pencil tones, a darker one and a lighter one. In some highlighted areas, you can even break the outline slightly instead of drawing one continuous line. You can add some shadows with strokes. Next, I draw the button holes. Okay. Then the hemline And then I add the seam line with a very soft thin stroke. Finally, I return to the highlights layer and add a few highlights along the edges of the coat. Along the opening, the hemline, and the bottom bottoms of the sleeves. Now on the details layer, I add highlights to the buttons by drawing small white strokes on the top and bottom of each button. Let's complete this look. I want to add the closing underneath the coat. I pick some dark gray and I just create a layer below the base layer and just color. I'm going to draw a simple jersey turtleneck dress. For now I simply color the entire area underneath the coat with dark gray. Normally, you would draw the closing properly layer by layer, but here I just want to quickly complete the overall look. I draw the hemline of the dress. And just fill the rest with dark gray. Then I create another layer on the very top to draw the neck part of the dress so it appears above the coat. All right. Now we have the overall shape. To make it look more natural, I pick some even dark gray and add shadows. After that, I draw the boots. They are made of soft leather, so I add a few folds around the ankles and fill everything with black. Normally, I would work with separate base shadow and highlights layer as we usually do for each piece of clothing. But here I'm working a bit faster just to complete the look. I use the Jasinski pen and white and add highlights. And on the other boot, then I use the smudge tool to soften these highlights. You can simply tap or press the smudge tool several times and the highlight will blend nicely without needing to drag the brush across the surface. I just tap and I get this nice smudging effect. When I work traditionally, I often smudge the white ink with a fingertip. Next, I add a few stronger highlights in certain areas with the same just sinkipN and that's it. Now we have a complete look, and you can apply the same approach when rendering other codes as well. 7. Belted coat rendering: base & shadows: Next, I move to the highlights layer and choose a very light yellow for this yellow coat. I pick the shadow brush with 100 opacity and a small brush size. Then I start adding highlights along the color here, then on your shoulder. And then on this elevated part of the sleeve. You can just connect these highlights on the shoulder and that part. Then I'm adding highlights along the collar and the lapel. Any sharp corner like the corner of the lapel can catch a bit more light, so you can make those areas slightly brighter. I do the same on the side. Inside this leaf fault, one side is in shadow and the other side is lid. Playing with shadows and highlights, I can suggest the overall shape of the fault. Adding highlights on any elevated parts. Working with other leaf shape. Okay. And we have one more leaf below, adding highlights along the shadows inside, doing the same on the other side. Because this coat is light in color, I can add fairly strong highlights. If the coat were dark red, for example, the highlights would need to be softer. Here with a wide brush, I'm adding some highlights on the lapel and color. For the darker coats, you would need softer highlights. Otherwise, it would look too shiny. So I add highlights along the faults, placing them close to the shadows. When highlights sit right next to the shadows, the contrast helps emphasize the form. I'm adding highlights on these elevated parts. Then I add highlights along the coat opening. Okay, then along the hemline here as well. And finally, some wide highlights on the sleeve. Finally, I create a new layer on the very top and draw a clean outline using the six B pencil. I'm outlining the code. My original draft sketch is at very low opacity. Usually, I don't delete that layer because I like these strokes of a draft drawing. It adds extra texture. On this layer on the very top, I'm adding details like buttons. You can just copy this button and paste and locate wherever you want. But whenever you copy something and paste, don't forget to merge it down to the previous layer. So everything stays on one layer. Then I add small highlights to the buttons. Finally, I draw the stitching lines wherever the coat has seems, and with that, our coat is finished. 8. Belted coat rendering: highlights: All right, I picked buttercup yellow as the base color, and for the shadows, I choose a slightly desaturated version of that color. So some light gray. I select my shadow brush and start working on the shadows layer. This video is a bit longer because I wanted to explain more details. So here we have the leaf shaped folds. And so let's reduce the opacity of the sketch layer. So we define these shapes with shadows. Next, I add shadows under the lapel and along the sleeve. Leaving the edge along the seam line uncolored where the sleeve is attached to the coat, and then adding shadows on the shoulders. Again, on the other side, I leave this elevated part of the sleeve uncolored. And Next, I'm adding shadows under your belt. Under the belt, we also have these leaf shaped folds which are narrower and longer. They usually have a slight upside down V shape. Since this is a light colour code, we need to be careful not to add too many shadows. Otherwise, it can start to look dirty, we should carefully layer starting from the lightest shadows. Okay, let's work on the sleeve. The sleeve is relatively straight until the elbow. So here you remember this Mercedes bend shaped fault. On its sides, we add shadows. So I also add shadows along the sides of the sleeve and inside of this indentation, where the elbow is bent. When the arm is bent, there is often a duck fold in that area, quite deep one. Here we have this empty space let's just add some shadows. This part of the sleeve forms what I call an ax fold. So on this side, this sleeve is fairly colm. But since she slightly pushes your arm forward, we have a very soft bend at the elbow. We get a few folds below the elbow. I also add shadows along the sides of the sleeve and between the sleeve and the body of the coat. Next, I add shadows along the coat opening and along the sides of the sleeve. Here near the hemline, the shadows can become a bit wider because the two sides of the coat touch each other at the waist, but the distance between them increases toward the bottom. That's why because of this distance, the shadows become wider. Now, I switch to a larger brush with lower opacity. Just like in the previous example, since your leg is slightly pushing against the coat, there might be a soft shadow forming here. It's still a fabric, even if it's a rigid fabric, it's not a metal plate. It still creases. So you see here, because of the hemline, the center of the side is pushed forward, so we can have some shadows here as well on both sides of this pushed part. Next, I pick a dark gray to strengthen some shadows. I reduce the brush size and deepen the shadows under the lapel. Okay. Here let's soften this edge because the fabric folds. And with this doceton let's deepen some shadows. Along the belt itself, the shadow should stay very thin because the belt is tight and sits very close to the coat. There we have less distance. Here the upside down V shapes. I also a darker shadows. On the other side along the lapel and inside this area between the sleep and the body, there is less light, so it naturally becomes darker. The seam line can also have deeper shadows because in structured coats, the seam sits slightly deeper in the fabric. A Sometimes you can very softly outline the shape of a shadow. For example, here we have a triangular stretched shadows. I lightly suggest that shape. However, if the shadow is very subtle, for example, here, there is no need to outline it. You can add a stroke and that's it. This technique works best for real indentations, not soft shading. Here I deepen the shadows again. And I can add a bit deeper shadows here. Here I can softly suggest the shape of this res as well. Try to draw more coats after finishing this class because if you draw 20 coats seriously carefully observing each one, looking at where the shadows appear, how dark they are, which brush works best, where to press had, where to soften with a smudgtol, your progress will be significant. Now I'm adding shadows inside the color with a smaller brush, I'm just showing the thread lines. As you can see, I'm now adding extra depth to the tops of some shadowed areas. Here the fabric is pushed, we may get some folds here as well. And now I'm adding the shadows along the center opening of the code. And as you remember, we widened this dock area near the bottom. Okay, next, I pick an even dark gray. I use this tone carefully to build deeper shadows, layering daca tones only where they are really needed. I also sometimes add some outlines or details on this step. Whenever we have a fabric indentation, we can show its shape with shadows and highlights. Here we have a leaf shaped fold, and by placing shadows along the sides, we show that the fabric dips inward and that it has this particular shape. Okay, so here we can add deeper shadows. I also like to zoom out and zoom in while working. When I scale the drawing down, it helps me see the overall balance and decide where additional shadows might be needed. So here the top of the shadowed areas, Daca Okay, so this is a bigger picture. So now we have mostly we are working with the darkest shadows inside the folds under the overlapping elements. So here, the top of this shape. I'm making it dark. Okay, so now bigger brush, less opacity, and I'm adding softer shadows in certain places. Sometimes I add the shadows first and then smudge or stretch them to make them softer. Now I'm picking a bit on the color disc changing to blue. So my gray is coolor. It builds a contrast with the yellow base. But you can just keep this step. I add a few shadows along the sides because otherwise the coat can look too flat. So here as well, I add shadows along the side of this leaf shaped fold, which help create more volume. Next, I add a few strokes on the color, and then I smudge it. I really enjoy working with the brush and smudge tool together, especially when rendering lighter coats. So I draw a few strokes and then gently stretch them with the smudge tool. This allows us to create many very subtle shadows on the coat. Here I leave the highlighted edge along the seam line untouched and then softly blend the shadows around it. For the smudge tool, I actually use the same shadow brush because in Procreate, you can choose brushes for smudging as well. I add a few strokes and then carefully soften them. This area, your hand in the pocket, that area where your hand is inside, I'm keeping it lit, so it's elevated. An area around your hand, I add the strokes and smudge them. I don't smudge everything. It gives this effect of smudging pencil with eraser. Now we can see that wow your hand is inside, you suggested with the strokes. Finally, I add a few more shadows. Here we might have some shadows because this is a side of your leg. Now the shadows are finished. In the next video, we will add the highlights and the details. 9. Final project: And Congratulations. You've reached the final step of our class and you can guess what it's going to be. Yes, it's going to be a code. You can use a reference photo and draw an existing code, or you can make it up. The complete look is encouraged. You can draw something simple below the code, or you can draw something more complicated. I'm looking forward to see your works. And if you have any questions, please share them and also share your suggestions. Thank you for taking this class and have a nice day. Oh