Fashion Illustration- Watercolor Beauty Products

1. Welcome!: Hi and welcome to fashion illustration. Watercolor beauty products. If you've watched my other fashion illustration courses, you'll know I love fashion illustration. I've worked for some amazing fashion companies, and I've dabbled in a lot of style and fashion design of my very own. Hi, I'm Chris V. And I'm taking you into my studio today to show you how to get materials gathered. How to get inspired starters with a sketch and get to painting some gorgeous beauty illustration from start to finish, including logos and special effects. I'll show you the resource is I use how I choose a project and get to painting some gorgeous pieces you can use for here. Social media while art or even gifts. There's even a bonus video at the very end, so join me for fashion illustration. Watercolor beauty products. You got this. See you in the next video 2. What You'll Need: What I use these projects is super basic like pencil an eraser paper towels to stop up messes. I'm using a pen. Tell water brush. Ah, but you can use any brush you like. Mine is a medium size for paper. I used a cast and watercolor £140 cold press paper that has a lot of texture and holds a lot of water. Watercolor set is a Windsor and Newton Cotman 12 piece tube set, which I find the colors really vibrant. I'm also using a light gold, a dark old and a silver gel pen for some detail. Work a small and large micron for detail, work and fulfilling in larger areas and a white Sharpie to do some of the detail logos. Gel pens have come in super handy here and there. They're just great to have around. And then, for my workspace, I just made sure my sketchbook is in front of me. My paints and brushes and paper towels are very readily accessible, and the water is somewhere nearby for me to switch my brush. Now I'll meet in the next video to get inspired. See, there 3. Getting Inspired : Okay, so I'm gonna go over with you my go to places to get inspiration for my projects. Ah, Pinterest is an amazing inspiration and I've made a board just for you guys loaded with all kinds of resource is and you'll find a lot of things I used in my projects, Like this Chanel fragrance bottle, for example, in the class of loss and lots of other resource is in this board that you are welcome to use. Of course, you can go on Pinterest and find your own inspiration cause there's lots and lots more available on this platform. Ah, but there are other search engines. As you know, Google, for example, I just typed in beauty products. I clicked the images tab and tons of images came up fresh images I hadn't seen before. Um, with thons of examples of beauty products, you can also type in specific brands and pull up images on Google that way, or you can go directly to their websites and find some gorgeous images as well. Of course, magazines are always a great source of inspiration from shampoos. Two creams toils to all the beauty products there as well, um, social media hashtags are so useful because you can just add a fingertip, create a surge tailored to what you are looking for, or just look through some random things and find something that you love by accident. But either way, I'll see you in the next video with your project inspiration, and we'll get started with the painting. 4. Beauty Nail Color: Okay, So I'm just diving right in to this painting. You can see I've sketched out my nail polish bottle, and I'm just now taking some bright yellow and just filling it in, and this color is going to be pretty even. So, I'm just going to keep it consistently going is filling in this area as evenly as I can. Okay, great. So now I'm going to start. You can see there's this crazy, reflective yellow area on the outside of the left hand side of the bottle. So just adding a line for that I'm probably thinking that, um after the paint dries. But thats a start, gives me some something to go back and, um, dark in on the second coat and on the top, eso a lot of this reflection looks really super intimidating. And it's really not. I really take the reflective areas like this cap and how there's so much shading. Um, I break it down. So on the right hand side, you have a very dark gray, and it fades into this right gray. I mean, light gray. Of course. Gonna let that dry at a little bit more feeding in a few minutes and then the top. You have this triangular shape coming down into these, you know, down toward the center of the cap. Oops. Got a little too much paint on that corner. And, um, I've got this little white reflective space in between the right and left ends. You can see I'm just defining that white space right there. So I let my I focus on one part of this at a time. I don't let it get too complicated. I don't let it overwhelm me and make me think this is too difficult for me to paint. I just look at one little thing like the fade. I can easily do that. I could look at the thing like the triangular area, and I'll go back. And to find that a little more later after this first coat has dried. So now, going back over my reflective areas with the gray so many of these bottles will be painting . Have reflection, and, um, I think it's very intimidating to a lot of people as well as the the the cap. The metal cap is the glass. The glass is even more intimidating, I think, because it's it's It's It's got a lot of transparency. It's got a lot of light bouncing through it, but really, it's just a matter of simple, easy steps. And if you just keep your eye on those areas, you're going to make your painting so much more lovely and beautiful, and you'll be so much happier with it. And now just creating this reverse fade So it's darker on the left hand side of the triangle on the top. So it's a direct reversal of the bottom and just a hint of fade in that triangle on the left, you'll see it fades right into the light, and that creates this illusion that it's going in a different direction in the bottom and catching the light differently. So now what I'm doing with my silver gel pen is catching some of that reflective, shiny nous with, um, the silver so that as the Penis looked at from different angles, it's going to sparkle and look a little more like metal. But in the areas where it's not sparkling, it's going a little look a little bit darker, so it's gonna have an interesting effect. Now I'm going over with a micron and hitting some of the darker areas and because they are made up of more detailed lines, I'm gonna go ahead and use the micro because there's just so much easier to get that sharper, more exact detail. And, of course, microns are waterproof, so I don't have to worry about going over it with paint later on, we'll probably probably most likely be adding some more like great of this. We'll see how it goes. But it's all about keeping my eye on my image and just bringing that back into my illustration. And now with my pencil, I'm going to sketch out the logo so I can get some white, um, Jill paint on top of that Oops, I boo booed and it looks like it's very dark. So I've got a very dark pencil that has I can't seem to erase it off turn. So this is a case where I'm gonna have to get really creative because, you know, this happens to the best of us. I've seen you guys asking me in the past What do I do when this sort of mistake occurs at how do we fix this? How did I get around this or past it to still end up with a gorgeous painting. And I'm going to show you what I do with this little issue, and it's gonna be a series of steps. Um, I'm gonna have to cover its first of all with a lot of white this way. I'm never gonna use this Disick product again. And I'm no offense to Sharpie. I love Sharpie products, but, uh, it sinks into my paintings really quickly, and then the cat broke, so it comes out in a glob. So I have to basically dumps him into my my mixing tray and then sort of pick it up with the end and sort of drag it across with the tip is it's really quite a process. I'm really just improvising with this tool at this point, but it's working, so I'm just going to stay with it, and I will replace it soon. But for this project, I'm just gonna keep it going, and I'm just gonna dump a lot of white paint on that dark pencil area that is just left a big, ugly mark on my work. Um, and I'm going to works, just find a way to make it thicker in that area. There's little things you can do. I mean, it's not gonna be exactly like the logo, but it's going to be close enough. It's going to be recognizable as the Dior logo. Um, I may be able to do something with the shadow and light on that one, which I wasn't originally planning to, but I think that might work as a fix. And I'll show you that in a little bit. Um, so just keeping it going, and I'm gonna let that dry. Well, I go ahead and feel in the second line there. That word is polish in French. If you hadn't guessed yours a French company, something like the word varnish is what they used for nail nail color in France and those air simple block letters. So that's going to be a pretty easy little um, But you know, if you continue on other parts of your work, it keeps your mind off of the blunder you just made. And it you'll come up with ideas a lot more readily than if you're obsessing over the fact you just screwed up your work. I have done this so many times and I've just had to keep it going and just move on to the next step and then see what I can come up with. And a lot of times I come up with something. So what I decided to Dio is takes, um, really thick yellow paint and try to cover over this pencil mark. Ah, by making the center of the D just more yellow and I can easily get away with it because the image is And even if it wasn't, I could still make it my own. But the yellow and the images quite a bit more concentrated than what I have anyway. So it's not gonna be an issue visually, so that's helping. So some of this concentrated ah, yellow is helping to mask a lot of this pencil that was just marquee marring the inside of that D. And I'm just gonna try to even it out by continuing on that color around the D A little bit , too. So it doesn't look odd just a little bit too much there. I'm really finding a way to just sort of blend it so it doesn't look that different and still cover, So that's good to get too crazy. Yeah, it's looking better, so I wait for that to dry. Start with some with my detail brush. I am going to start adding some of this darker, grey reflective areas through the glass, so it gives it some dimension. It shows some movement and reflection in the glass, and ah shows the light bouncing through. It's kind of lovely. Um, when you see light bouncing through glasses, just a beautiful effect. While that's drawing, I'm going to go ahead with my micron. I've decided to you could see these shadows on the right hand side of the letters and decided I wasn't originally going to outline that. But I think that will help cover over this blunder that I've made on the D and really give a nice pop to my letters. So it's gonna end up being actually a good solution that will add to my painting and still cover over my air. And that's that's the dream solution right there, something that will actually make your painting better. And that's really are all part of the creative process. I mean something. Some people think creativity is just putting out this perfect work. Ah, but it's really thinking on your feet and understanding how to take your work in the right direction. And I'm just adding micron to the bottom row just to mirror the top. So it's looking cohesive. It's really carefully adding the shadow, just adding some finishing touches that's looking so much better. It actually adds to the accomplishment when you know that you figured out a way to get through one of these issues, so just keep pressing through and see what happens. And you can see I am adding more yellow to that left hand side. That's reflecting what's inside the bottle and just adding some last minute micron details just to sharpen up some of the edges, some of the corners and I'm happy and good with this one. I look forward to see you in the next project video 5. Fragrance Bottle: So I'm going to go and start this for such a, uh, fragrance bottle with just coloring in my yellow. And I'm gonna just leave some of the yellow off on this crystallized looking topper and I'm gonna just go ahead and remove some of this just because it's gonna be reflective and I don't want it to be too colorful. I wanted to look like it's shiny. That's going to remove some of that and go and keep it going down below. So it's march more yellow around the sides in the bottom. So I'm gonna make it really dark there and then just sort of fade up, um, as it gets lighter on the top. So again, just keeping my eye on the image a lot just to make sure I don't, um I don't miss some kind of a Q there and just go ahead and filling in some of where the the reflective edges are facets on the top. There, like kind of like a Jules cut peace. Okay, now, with my grey, I'm gonna go ahead and start coloring in some of the reflective parts, and I can see right now that the top of my perfume bottle is much squad here than the one in the image gonna get caught up in that I'm just gonna keep it going. And don't forget that this is your artistic license and your image doesn't have to be exactly like or your painting does not to be exactly like your image. Um, I could correct that if I wanted to, but I just really want I'm just really, um, enjoying the process right now, and I just don't want to get caught up in perfection. So just hitting all the darkest parts of the reflection corners are some of the main, um, areas you can see kind of going down the sides a little bit irregular with the gray, just trying to capture some of the almost marbleized effect, and then the corners again, capturing the strongest reflections. It's very simple, really. Um, this image is really very, very minimalistic. Almost. It's just very, very clean and straightforward. So now I'm going back with the second layer and just darkening over and making that look a little more three dimensional. I can keep my eye on the image a lot. So as my eye goes over the image over and over. I capture new details. Um, that I add, that's what is shaping up nicely. Um, capturing under the stuffer. A lot of shadow right there, attorneys for bottle and capturing this edge of the glass where it's got this, um, angle on both sides. It's a nice detail. So good. Just a matter of layering. Just keep going over your areas and just continue adding details that your IRS picking up and I prioritized by the most noticeable. And then when I might I goes back over it. I see things I didn't see before. And then add those accordingly darkening my edges any more drama? I wanna go too much of here, but I do want add just a little bit of reflective hello? Whom were fading the Senate of the bottle. I missed some gray in the stopper up there. A little bit of great detail. I want to add that and I'm really happy with, um, the detail, the bottle know that it's drawing. I'm gonna wouldn't add the lettering. And, um, careful to make it a little heavier on left as it is in the logo in the image. So this is simple block letters, but they're a little bit thicker on the left and, um, going up and down on some of the letters, like in the are you can see they're not perfectly spaced, but they're close enough that they capture the essence of the logo. And that works. Um, really happy with that. So now just going over the darker areas with my micron just to give it a little bit of pop now And reflection, um, you know, obviously has layers of dark and light. Um, so that Micron now is going to really help this whole look to pop painstakingly going back over capturing any little details I might have missed. Adding some definition is something that I already have going all the way down the entire painting. I'm just making sure that everything is really properly defined. And that about concludes this one. I hope you enjoyed it. And I will see you in the next one. 6. Fragrance Bottle 2: So I have sketched out this gorgeous Chanel fragrance bottle Coco, Mademoiselle, and I'm just covering over the bottle with an initial peach color. Very light orange, and I'm going through. While that's drawing and adding some gray highlights to the crystal, see through bottle top on, this one's like a stopper. Keeping my eye on the image, I'm adding these reflective details, following along the shapes, breaking them down So they're simply in their most simplest forms. And now that the color on the fragrance bottle is dry, I'm adding a second coat. So it's sort of the color of the bottle is very concentrated on the very top, the sides and the bottom, especially the bottom, where it fades up into the lighter color. So I'm going to be adding a lot of layers to that bottom, Um, that that bottom portion of the bottle and intermittently while it's drawing, I'm going to be going back to the bottle top, and I'm just kind of creating a reflection inthe e neck of the bottle. There. That's kind of a metallic silver, capturing some of that detail, and I'm adding a little bit of metallic gold in between the black because I meant to say it was a gold color. I said Silver. So my apologies, um and then adding just a little hint of of light yellow just to give it a little a little color to the bottle top again, adding some gold detail where the, um, the sprayer for this fragrance is kind of peeking through the the plastic Chris, the clear plastic top and again another ah, much darker layer that I'm adding to. So it's like a kind of a deep brown coney at color that I'm adding to the bottom of this bottle and fading upward. And I wanted to be a lot darker, so I'm just adding a little gray to this is quite dark at the bar. If you look at the image, the color is quite dark at the bottom of this bottle, and now I'm gonna kind of fade it up with with water. I'm just going to keep fading it so it gets lighter and lighter as it goes and fades into the original color at the top. And I got a little too much color over there, so just mopping it up a little bit and, uh, adding Cem very deep, dark color to the sides and these very dark lines on the top in the sides and the very bottom to kind of show how things are reflecting through the glass in this bottle, um, the edges of the glass or sort of compressed on the ends. And so it's showing a lot of, um, sort of dark lines. Were the glasses sort of coming together and things are reflecting in it, but the much a darker color. I'm going to make another pass over the cap, um, adding some more details to the corners to the sides, just adding a little more richness of color. And so some of that light comes through the dark. I'm not gonna cover it all over, so you can kind of see some, ah, depth and dimension, working its way into the illustration and just adding detail to the neck of the bottle. I'll too exuberant there and once again now that my bottle is dry, just adding some more colors, the very bottom and again adding another layer of brown. I want this to be really dramatic, so it's it's gonna take a few layers. It's a little bit of a trick to to blend it. Um, there's a lot of color, so it's basically I got a little too much close to the label. It's just not that dark right there in the image. It takes a little bit of time and patients to blend this color because it needs to be a nice soft fade if you're going to get the right look and again adding more darker details to the ends of the bottle. Just a little bit of a game of patients, like with the other illustrations and this illustration looks really daunting. And when you again, I know I've said this a few times. When you really break it down, it's just not as difficult as it originally seems. So I'm gonna go back with the Micron and really sharpen some of these details from these outlines. Kind of bring them into some sharp focus now. So just keeping an eye on my image of just continuing to add the little reflective details little outlines I'm pretty happy with the color on the fragrance bottle. I just wanted to sharpen and at a little more dimension to these reflections back down the other side, and now it's time to very carefully trace over my letters. There's a pretty simple block letters, so it will make my job somewhat easier. And I'm just gonna keep it really simple. I'm not gonna make it super accurate, but just neat and clean and as close to the images I can. And don't forget a little imperfection adds so much charm to your illustration. So, um, your style maybe super perfect, and that's totally fine. Obviously nothing wrong with that. But if it's not, don't be discouraged. Charm is a beautiful thing, and people love that now. Just adding some gold border around the label with my gel pen, just being careful to kind of keep the thickness about the same all the way around. One of those finishing touches that will just set this piece off is that something you want to look for is the finishing touches in your image, and what you want to highlight because you can totally do that is highlight certain things in your piece that stand out to you kind of makes it your own. And that concludes the, uh, fragrance for Chanel. Just hope you enjoyed this one, and I look forward to seeing you in the next project. Okay, 7. Lip Stick: So to tackle this ca Vinci lipstick, there are really only two basic colors. So we've got, like, a red orange, which I'll be mixing. I'm just laying a base of red, and I don't want to get it to dark because I want to leave some lighter areas as reflection . You can see, um, there is some light going through. Ah, some reflection going through some lines going down the, um, tubular part of the lipstick. So I'm going to get it, you know, colorful, but not too crazy. And now I'm just with some gray just starting in on some of these shadows. So the silver is just a combination of blocks, grays and whites, and it's a matter of fading, Um, s so you can see on that top part of the lipstick. How I painted that gray stripe down the bottom is just kind of I'm gonna be fainting it on either side just to show some circular a shape. And so what I'm doing now is just following my image and just catching all the lighter graze you can see at the top part of the cap where it curves down and catches some shuteye on either side. Ah, becoming back with some detail with the Micron to do some of these darker black areas. In the meantime, just catching some of that, Um ah, like bowl shape, upside down bowl shape on the top. So it's like a curved um cap. And I just want to make sure that I faded out at some point so that it's got a nice flow to it and now really hitting the black areas with some darker pain. I want to really layer this so that it gets plenty dark and so you can see with some light grey wash and water. I covered that entire area, and now the black is darkest towards the center and then fades light out towards the end. So I'm just going to do a little drop painting here with the black towards the center, and you can see how it's fading. It's getting lighter out towards the end on the left hand side there, so pretty basic effect, but very effective looking and that's a good start will be layering that later on too dark in it, just getting started on the right hand side, with same same exact thing just getting it good and wet, getting it dark on the inside and then lightning it as it goes towards the outside. It's much darker on this right side, so I'm gonna go ahead and lay a much darker layer, just adding some words. Paint to the other side. It has dry since the stride, a little bit over there, just fading it out of the water. It's a nice dramatic effects. I want to make sure I really get as many layers on their as I can and just adding a little detail to that little pyramid design at the bottom of each. Ah, the lipstick and the cab. Next, I'm gonna add some detail just going back over now that my paint has dried and darkening, um, the outside edges of the lipstick with some darker grey. Ah, and you can see it separates and goes whiter in the middle and just making sure that I catch that geometric little outcropping as it were. Ah, and just going back and layering some more of this read, adding the orange in there kind of brighten it. Sometimes you think that color is one thing and it's actually another and you find how when you start mixing it what it's really containing. And as I'm darkening this, I'm leaving some of the original red ah to become the highlights are, um, reflections in the lipstick. You can see I'm leaving those unpainted now and just are getting this flat. Lay a flat service at the top of a lipstick and that's really a nice color. Like that lot and going back with my micro now and just going back in darkening some of the areas that need to be highlighted. Like Thea shadow between the lipstick and the and the casing. Um, these darker shadows differentiating between the top of the bottom of this lipstick case, Um, this sort of, um, area where the logo pops out a little pyramid at the bottom. All these things need a little, um outlining to make him pop. So I'm just going through an outlining everything just to make sure everything's gonna going to be well represented and that the illustration sort of pops off the page because you really can see the lights and darks. You can see where it starts and ends. You can see I'm working on the detail the top of the cap, and I'm not gonna do it exactly. I'm just going to mimic these lines, these chunky lines going on either side of that top of the cap and now start to really get detailed with the way it's kind of an irregular shape, the way this chrome stripe is going down. Um, it's not the same on both sides. One side is going all the way to the top. The other side has a river where it's kind of cut where the rim is and the black starts on the right hand side at the top of the cap is kind of an odd sort of s symmetrical looking design, but kind of cool. So I can see I'm making my darks darker towards the center of the lipstick cap. So I can really show the dramatic, uh, shadow and light effect there, making sure you can see the outline of the cap and now daring to dive in and spell out the logo. This is always very daunting for me because, you know, logo's are made to be recognizable. And if you watch him up, um, it doesn't look the same. So I'm trying to be really slow and careful when I'm doing logos, Um, and try not to be too much of a perfectionist. I'm a horrible perfectionist, and I've had to work so hard to free up my style and just allow my art to be what it is and grow, you know, on its own pace. It's really, really hard on my own worst enemy in that way, and I think we can all most of us relate to that. But you know, it's all about letting go and letting the art take its own form. And the more I take that attitude, the better my logo's tend to look. So I have nothing to lose. But neither do you. All right, going back. And now that a lot of this pain is dried and just kind of hitting my shadows again again, looking at my image a lot to make sure that everything's looking accurate and we're getting pretty close to done here. Just finishing some last minute shadows on the chrome, the bottom. But this pyramid kind of making those lights and darks pop a little more on that and we are finished. I look forward to see you in the next video 8. Eyeshadow: Okay, so I've taken on this crazy iridescent eye shadow palette, and I'm just gonna dive right in by just adding a light purple hue to my lid. That will be the first layer, but it's an iridescent, uh, service. So we'll be adding lots of other colors. And iridescence is just a series of stripes of pastel colors. Eso I'll show you how I do. That s ah, a little bit later. I'm just adding a darker edge toothy end and just diving right into creating the black that in cases thes eyeshadow circles. So it's just a really a game of patients. And I'm just going to take this in layers because what's in the image is pretty dark. I'm not going to get it that dark, but I'll get it pretty dark. I just have to evenly create thes gray layers that eventually get dark enough toe look pretty close, and you can see him carefully going around all of these circular eye shadow areas. Um, careful to stay out so that, um, just gonna add somewhere black? I think I want to just go a lot darker with this. Keep it careful, but that'll make a little bit less layering from you later on. So all the way down the other side, you can I got into this circular area a little bit, so I'm just gonna waltz fresh, wet it and, um, let that dry and come back and get that a little more accurate on the next pass. So back up the other side again. You can see it's getting nice and dark, and now that the other side is dry because he have sped this up for you. So I don't torture you to death because it's quite a process to to get this is dark as I've gotten it. It just takes a little bit of time and waiting for the paint to dry helps if you have a fan nearby, helps the paint dry a little bit, uh, quicker. So now back onto the lid, adding my second layer of purple on the top and bottom of the the lid. I could see that purple is pretty intense. It's like a blue purple file, A dark violet, I should say, and I'm just fading it out toward the top. So it's nice and even nice and intense, and now I'm going to go to the next color, which is yellow. You have to really look closely cause initially all you see is a purple lid. You don't see yellow. You don't see the green in there. You don't see the fuchsia until you really start breaking it down. And it all comes down to that. And while these colors are wet, I'm feeding one into the other so that they have this seamless, sort of melding thing going on, which really helps with the iridescent look. Now I'm going Teoh a dark purple again and running out of room. So the last color I'm going to add after this purple is going to be a green. There's actually a yellow, but I won't have room for that. It's going to be close enough, though. It's going to tell the story that's starting to look really good. A little bit of green to this yellow, a bit of water in there, so it fades. So while that's drawing, I'm just going to dark in the little the edge. I should say the edge of the little, little more to give it some definition, some shading and at a little bit more water to this and then we'll dive right into the makeup Brush me this little two blues. I'm gonna add some more pink to it on Let it dry, going right into these eye shadows. Which is the most fun, of course. And I am working to make these colors very similar to the image. But, you know, you could change them all up. You could totally make him a different color palette. You can ah ah, you can lighten him up. Making pastels. This is like a nighttime palette, so that colors or super intense. But I thought that was really fun. So I'm going to stick with these colors and just one day one. See what I could do to replicate them by what's in my, uh, just using what's in my watercolor palette. That's kind of a Seiji green, and this is more of a intense turquoise. That's a pretty color. Just adding a little bit of I've got this, um, pink. That's really fun to use. It's an off brand, and it's just keep it handy, since I don't have a Windsor Newton Pink yet will be getting one soon, just one at a time of just replicating my colors. Sometimes I have to go back for another pass because the colors are a little off. So I'm kind of mixing them as I'm putting them into the illustration, which is kind of fun to this is gonna be a super dark purple. So a lot of blue in this one. Maybe a little more blue. Yeah, that's looking good. And then on to this orange, I'm going to start this orange with a yellow base and add some orange to it, cause it's kind of Ah, pretty light tone, so I don't want to get too crazy. I want to put just dump orange in there. It's kind of a really soft color, and then this is more of a lemony yellow. So this whole side of the palate goes from light yellow to dark brown, so they're sort of tones, warm tones. The other side is a little cooler, and then this more intense salmon color and now the brown. So I'm starting with a mustardy color, and then I'll just be adding to the intensity of it to make it more of a brown kind of getting some finishing touches and then going back to the, um, going back to the lid. I want to keep these layers going and intensify this color. So I'm adding darkening the fuchsia stripe that's going through it, adding water so it fades, adding to the green. See Cassie step by step. I'm just going to re add these colors just to make this pop a lot more. And now that that's drawing, I'm gonna take my gel pen, my silver gel pin, and just go around each of these I shadows just to show the detail of the pan that the eye shadows air sitting in to speak a Zacharias I can to get those as close as possible now, with some grey starting to build color for the makeup brush. I'm leaving some light areas because there's a reflection on this black part of the makeup brush on either side, so I want it not make it harder later by just adding some great here and there. And now with my gel pen, I am working on the lettering for this. It's like a dark purple gel pen. I am good. This lettering is kind of squatty because you're seeing the lid from a foreshortened view because it's open. So I've got it kind of replicate how those letters are looking kind of fat. It's looking pretty good now with my black gel pin I'm going through and putting the detail on these brushes. Brush ends, I should say, same brush to ends, just looking out just to not go over the reflective areas. So I don't have to recreate them with white kind of a reverse negative space thing going on there and creates a very light strokes for the ends for the brush part and leaving a little bit of space all around the brush kind of differentiates it from the rest of the palate, giving it some of its own definition of its own space there. And now with the purple, I'm just gonna go around the edges and just sort of make those pop a little bit more. It's a very vibrant color scheme, and those sharpening those edges really helps, too. Give it some real pop. I'm gonna go ahead and do that all around the outside of the palate because the you can't see the bottom, but it is purple also, so putting purple on the edges sort of tells that story, just as it is in the image and just showing a little bit extra light purple where the enclosure is for the lid in the center, all around the edges, having a little depth and just adding a little bit of silver lettering to the makeup brush . And the last step I'm going to do is I have this pack of iridescent paint I thought Be fun to put on these eye shadows because they are sparkly in the image. Um, and I thought it be fun to have him sparkle in the light. So I'm finding similar colors in this palette and just putting them over each of the colors I have in this eye shadow. Um, set. It's not something you have to do. I just I'd be a fun detail. I don't even know what the name of this brand is. It was basically a 99 cent store purchase that has a super cheap set, so it's not that high quality, but it is fun to use here and there. Eventually, I need to invest in some better metallic paints, but this is going to do for now at a little bit of fun. detail to our project. So just going through each one and just adding Samir Destined color, having a lot of fun with it in the meantime, thankfully, although cheap, it does have a lot of color options in this set. So that made my job easy. In this case, there was pretty much a corresponding color for every one of these eye shadows, and I'm just gonna add a little bit to the brush as well and to the lid, give it a little bit of sparkle green to add to that iridescence. And that's looking pretty good. Thank you so much for joining me with us for this project, and I look forward to seeing you in the next one. 9. Eyeshadow 2: Okay, so I've decided to take on this extensively detailed an elaborate Chanel eyeshadow palette . And they have a history of creating these sculptured, very elaborate designed blush is and eyeshadow palettes that become art all on their own. And I was just so inspired. Um, you know, the colors are very basic, and you could see I've just laying down. I lay down a base of just basic yellow just to get me started. And now with some light brown kind of going over some of these that I'm just calling them stripes right now just to simplify them in my mind. And this is something I do on really elaborate designs. I really work on breaking them down to their most simple components. So now this top portion, I'm separating the dark from the light with just a little brown paint. And on this next section, I am creating like a waffle kind of ah, honey comb pattern with some brown paint. And I'm just going to let that dry. And I'm not going to get to crazy about getting detailed right off the bat. I'm going to take each of these stripes and their own designs. Um as a separate entity, just so I don't freak out over the detail. And this is something I do a lot on elaborate designs. I really just try to really discipline myself on focusing on. Okay, what is the basic shape of this? Just aren't wanna one sketching when I want and just keeping my mind on that one thing at a time like this next section is really just a series of stripes. Easy peasy. Just get it down on your first layer and move onto the next one without letting your mind think too much about how daunting it's gonna be. This next section is the toughest. It's like a braided looking almost like a chain. Um, and these were not my forte. So I'm just going to try and go really slowly. And of course, this is sped up. So I've got a lot more slowly than it even looks. So don't if you too hard on yourself on on some of these types of, you know, dive in experiment. If you don't like the outcome, try it again. You know, do it. Do a different one and try it again. Or do the same and try it again. And don't worry about getting it perfect. Art is learning. Don't forget. Art is learning. Um, so now you can see I'm coming in with a much, much darker brown and really starting to capture some of the the colors a little more accurately. And now, with this dark brown coming through and daring to detail this braided section trying to take one section at a time and, uh, just hitting one side in the other side, one little break at a time and capturing the curves on the edges. And right about there, you can see I've gone off my pattern. You can see a I've messed it up, and it's starting to get smaller on the end as well. So, like I said, not my best skill set. But you know, I love to experiment, and if I don't keep practicing the things I'm not good at, I'm not going to get good at the things that I want to grow in, and you can see that it's pretty crooked looking. But I'm going to keep on going, not going to focus on that right now, darkening this upper stripe, sometimes by working on a different part of the design. I just let the other parts simmer, and I can start letting my creative brain think of some solutions or ideas to maybe improve on what I've done. I think that's another part of art is letting it take its course and then just seeing what I can do if I'm not happy with it, um just come back and try something new or let just let it be. Even you can see I went over the line on this upper stripe and I'm just gonna sop that up. Well, it's wet, come back and redirected. So now, while all that is drying, I am going to start in with the black compact part of this painting and there's gonna be a lot of layering. This is a very dark black shin. All of Chanel's packaging is black and white. Um, so I'm just going, coming in with initial layers of paint, and obviously I'll have to come back and dark in these, but I want to start getting these greys defined. So just following my sketch and looking at the image a lot, I'm just going to keep hitting the darkest part of of the painting to be sure that I have enough time to come back and layer over the darkest parts because I started with those. They're going to dry faster and I can come back and add layers. Keep adding layers. You can see I'm painting over my logo, but all still, I left it a little bit dark, so I would just be able to see it through the paint. Just a little trick that you can use, um, on some of your things, some of your paintings. So again, just painstakingly coming through and hitting the darkest areas. And now I can go through on some of my drier areas now and dark in and add detail. So I'm not going to get this completely black. And what I'm gonna do is make it the darkest on the outside of the of the top of the compact and leave the inside a little lighter just for some drama and just adding these reflective. So these services are shiny and there's a lot of reflection, and that's kind of what makes it so classic. Um, is all these dramatic darks and lights and now you can see what the micron I can come back and really makes them pop, adding outlines, darkening some of these much darker areas. Just one section at a time. And I'm just doing a lot of looking at my image and just copying and just adding and just refining. You can see him outlining this very clean edge all the way around this, the rim of this compact. I got that line a little close to my paintings. I would have liked, but it's okay. It's not gonna make a break. Do I really screwed that one up? I can always come back with a little white paint where I micron my reflection line. I meant to leave that line white, but there's always I something I could do down the line. In fact, it's really not looking that obvious to me. I might even just leave it. And now just detail ing the part of the compact where the lock is getting the sides defined just coming through and just adding a little bit more light gray just to at a little bit more dramatic effect. Oops, you got that little too dark. Now I'm coming back over. Now that that is drawing ah with my gold. I have two gold pens, a light one in a dark one, and this surface is metallic. So I'm coming through, and I'm going to use both of these dark pens to add some drama now. And you can see I'm detail ing these dark areas of this honey comb pattern to create this waffled, three dimensional look. And it's starting to look much more three dimensional now, adding these reflective gold lines through the center of that stripe, coming through my braid and adding some metallic to that and adding some darks with the darker gold. You can see the difference now, the dark and the light gold. This darker gold really makes um, this area seem a lot more three dimensional, which really kind of helps take away from the fact that it's crooked, adding more, just layering the gold. Now, adding this crazy pattern on the bottom, coming back with my darker gold and just accenting all of these metallic areas I've made. And I have decided that my braided area, even though it's really crooked and mangled, looking on the right, um, it doesn't look bad enough to have to redo. I'm just gonna let it be at as a whole, the design looks looks quite nice. And sometimes if you take your eye away from one certain area and look at it as a whole, it's not mistakes or not as obvious as we think. And just going ahead and filling in where I didn't quite put enough brown at the bottom and now the logo. So again, very careful. And this Sharpie that isn't quite working right? It's dumping a lot of paint. So what I did is I dumped a bunch of white Sharpie paint into my palate, and now I am using the tip of this pen to grab it and add it to my illustration. Because the pen just isn't working right. It just keeps dumping pain out instead of of of, um, creating the detail that I want me. It's just dumping globs of paint. So I'm taking a broke a tool that's not working right and just improvising. It's not ideal, but it's gonna work. And sometimes if you don't have the tools that you need or want, be creative. Just try toe, do a work around and keep it going. Don't let it make you stop creating, and I'm really happy with the way that's coming out, and that concludes this project. I really hope you have enjoyed it, and I look forward to see you in the next video. 10. Thank You!!: thank you so much for joining me in fashion illustration. Watercolor beauty products. I so enjoyed inviting you into my studio and showing you all my processes from getting inspired to starting with painting a sketch to get just the right details. Just the right color. Getting your logos just right to come up with a project that you could be proud of from eye shadow, toe lip color to fragrance to nail color. Whatever you choose to paint, I'll show you how to dive right in, including how to handle mistakes so you end up with work you're truly proud of. I hope you'll decide to share it with us in the project gallery by clicking your project tab and following the prompts. If you have any questions at all, you can reach out to me or other students in the community section by clicking the community tab, and I hope you'll leave me a review so I can keep improving these classes going forward. Now it's time to gather your materials, find your inspiration, create a sketch and start painting. You got this. Stay tuned for the bonus video next 11. Bonus Video: