Fashion Illustration- Watercolor Fashion Accessories

1. Intro: I am a lover of fashion. You'll see it plastered all over my social networks, and I've worked for some amazing brands in the past. I've even come up with my own fashion looks. Hi, I'm crispy. And you might remember me from fashion illustration how to paint fabric prints and three D Or we discovered how to create realistic textile designs on runway models or watercolor fabric swatches where we focused on fabric swatches painted in watercolor. I'm back in the studio today with an all new fashion illustration, cores focusing on step by step accessories. Starting with the sketch, we'll go over some detail placement and then dive right into the painting. We'll talk about process, and we'll talk about how to go over mistakes because we all know they're gonna happen. We'll go over woven hat design, mirrored lenses, a drop painting, watch metallic hardware on a handbag and resist technique on a boot. So I hope you'll join me in my studio today and will paint your very own fashion accessories projects. I'll show you how to gather your materials and get inspired. You got this fashion illustration Watercolor fashion accessories See 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 some unit ball metallic gel pens for some finishing touches. 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 : I just want to share with you some ideas on how I get inspired to find subject matter for my projects. Pinterest is a huge inspiration for me, and I have actually created a custom board for this class. It's called skill Share Fashion Accessories, and I will give you a link to it in the project section. But you'll see it's full of shoes, hats, belts, scarves, bags, um, all kinds of things. Of course, you could do your own search, and you can also go to your favorite search engine search. Fashion accessory hit images and all kinds of things will come up in all different colors. They'll be on trend. Um, they'll be from all different designers is to so many options on the search engines. It's unreal. So that's another fantastic example. Um, you can go ahead and blow up the image, and this one in particular has a lot of different accessories in it, So that's a lot of fun. Ah, and of course, magazines. Huge inspiration for me as well. I look forward to see what you guys find and come up with, and I'll see you in the next video 4. The Sketch: I'm going to quickly take you through my sketch of this handbag, and you can see I have sped up this video because I don't want to spend a ton of time on the sketch, But you can see I'm following the basic round shapes. Ah, in the image of this bag, um, I have a class called rough Sketches as a finished product where I take you in detail through sketching all different types of shapes. Um, and you're welcome to tune into that, but I want to take you on this project from the sketch all the way through the finish. So I'm going to just show you my process, um that I have done for this particular project, starting with the sketch. And I am just wrapping thes leather. Uh, this leather is literally tied in knots around the handle of this bag and holding this very chunky metal link, he's metal chain links. That air hanging down is like a charm. So I'm literally going through and just copying the shapes I see in the image and spacing them where I think they should be. Sometimes I have to erase and start over again. Sometimes I get it right the first time. Sometimes I don't get it right. But I want it to look less than perfect because it adds a lot of charm to your art. Ah, it pains me to see people trying to get their art looking so immaculately perfect. It kind of loses that hand crafted edge when you do that. So I leave a lot of little blunders here and there, um, and find it quite nice. And that concludes the, uh, sketching portion of this project. 5. Handbag with Metallics: So you've seen the sketch of this luscious little Chloe handbag that's shaped like a hat box with around handle on it. And I'm just diving in and just painting everything. This Ah, very luscious looking, yellow kind of lemony looking. And I'm just gonna paint over everything. We're gonna come back and do details over the yellow, but this will simplify and make things a lot faster, so just working on keeping the color as even as possible. So I'm as I'm adding color, I'm also blending it, blending it into what's already there. To be sure that what I'm adding, is it going Teoh, you know, overpower or under power the rest of the work and just starting right in with my metallic gel pen on the handle, being careful to follow the circular motion of laid out in pencil. But honestly, even though I haven't laid out in pencil, sometimes I reshape my my work because I realized, oh, this wasn't quite even enough going around the circle or it wasn't quite circular enough, and it's a good time this to come back with your eye and correct some things. There's nothing wrong with doing that now. on this top part of that handle, there was a logo. Ah, there is a logo on the image that I decided to leave out just cause. I thought it was just too much for the illustration. I thought one logo on the bag was really powerful, and the additional logo on the handle was just too redundant. So, you know you have artistic license. This is your piece. Now you can do whatever you like with it. And if you feel that there's a detail that's just not working, then for sure, leave it out. I'm just going down and doing the hardware on this, um, on the front of the bag. Its charm. This is a really fun detail that's super unusual on a tiny bag, this huge charm on tiny bags. It's a lot of funds, very whimsical, really catches the eye, and then this hardware that we're seeing from the side. So I don't really exactly know what's going on with it, but I can definitely, um, you know, throw it in there from the side and its a definite eye catcher, even though it's not completely clear what's going on up there. So now I'm going in with a sort of a copper colored metallic gilpin to create some reflection on some of the lighter areas. It's just gonna adul interest. I thought this gold by itself was a little plane, so this will definitely add some interest. So now I'm coming back with the micron and creating the darker, reflective areas on the hardware. Just looking at my image an awful lot and coming back and just, you know, be doing my best to be as realistic as possible without being flawless. Flawless is amazing, but sometimes it takes a little bit of the whimsy out of your illustration. So it was encourage people not to get too perfect, just keeping my eye on the illustration and just capturing as much of that as possible and not going through the leather. Strapping. This detail is super unusual is big, chunky, beautiful, strapped is tied in knots. On this tiny bag again is ah, riel contrast to its size and basic shape. And that's what really caught my eye when I decided to do this project. Uh, that was really unique, and not only is it chunky and and large, but it's double strapping. I mean, they really went out of their way to ah, make it a very visual part of this bag. You see, I've gone from one side of this dropping to the other side. I'll do this a lot to take a break. If I get to focused or too monotonous on one area, Sometimes I tend to make errors. So I'll jump to another area that I feel, um I can maybe complete a little more quickly requires a little less concentration and ah, my focus. When I get back to the other area, my focus is is back on track. That's the trick. I use a lot. I am back on the other side. And this micron pen is the perfect tool for this, um, black edging on this Ah, on this leather. So now I'm tackling the outline. So I want to keep the outline fairly light because I want to. I want the the I to really go towards the details on the on the bag. But, um, I also want to include this beautiful stitching that is visible in the image. Um, it's not super prominent, but it's a really gorgeous handgun detail. I'm sure it's done with a machine, but it's really it has that handcrafted look. Um, and I want to just dotted here and there. I don't want to do it throughout the entire bag because I don't want to visually takeover. And also, you know, the brain through the I will complete that. Look, um, it will do that on wording. If we're to spelled wrong and yet you think it's spelled right, it's because your brain automatically corrected it. Um, it will also do that in art. And I've got a class that I really go deep into this concept called line drawing the power of suggestion where you take out as much line edges you can and see what your brain kind of continues its It's a lot of fun if you want to check it out. Okay, so now I'm gonna move right into creating the table surface underneath the bag, and I wanted to look quite like in the image, so I'm going to keep it a very, very light gray, and that is way too dark. So just stopping that up, I may have to do this in a few layers. Um, but that's fine. I just don't want it to be to take over the painting. I just want to be a barely there surface, and I'm just going through and just adding a little great to my metallic details. So there's a little bit of a more natural transition from the black micron and the, um, copper colored gel pen accent. Again, being careful toe look at my image a lot and then back at my work. So I keep it, you know, as close as I can. And next I'm going to go through and add a little bit of shading, um, to the leather areas on the strapping where there's a little overlap. Uh, here and there. Just capturing that light source, adding shadow here inside the stop underneath where this part is overlapping over the strap . Give it a little realistic feel and now back on for another layer of table surface. And I'm just capturing this deep shadow right underneath the bag to give it some pop there . Well, that's trying. I'm just going to add another layer of micron to my metal work. Metal work is super fascinating because there are so many facets to it, and so maney you go really crazy trying to portray, uh, a an exact looking metal reflection. But I just want to add a little bit of definition to the shape of this handle and the charm . This project is all finished and look forward to see you in the next video. 6. Drop Painting Watch: So I will start right in on this watch with the the, um, the watch band in this pale, beautiful pastel pink. And already I have ah, got it too concentrated. So I just don't want toe. I want to keep it light. I won't mind building the color up a little bit more slowly on this one. I don't want the watch band to take over the attention from the watch face, which is gonna be our main attraction on this piece. Just quickly filling in. I will let that initial layer dry and move on to the, um, watch face. Well, I will use a drop paint techniques. I'm getting the inside of the watch face completely saturated with water. Not to puddled, but enough. So let the paint swirl around a little bit on. I'm starting with this aqua color. Um, kind of an awkward green, building it up a little bit here and there where I wanted to be a bit darker. And while that's still wet, dropping in some purple and I'm happy with that purple for now. I'm gonna move right into some read, and this is like an orange red, so it's kind of softer than a bright red, which will flow nicely with these other colors and just watching my image to see where these colors are more concentrated where they flow into each other. And, of course, it never has to be perfect. This is my interpretation, and years will be your interpretation. But, um, I'm doing my best to see how close I can get. So you could see I got a little to concentrate on the purple a minute ago and just lightened it up there. Um, and it may take a little time to build it up. I'll probably have to come back a few times and add color here and there and not the aqua has dried. I'm going back and adding a little bit more color there. I want this red orange to be darker, doing a little bit more blending and, well, that's drawing. I'm going to go ahead and start by adding my mitts with a metallic gel pen, Um, in gold. I'm gonna go ahead and start the watch Basil, which is the area that goes around the face of the watch. So getting the watchband supports all done. I'm starting it with circle and circles have never been super easy for me. So, um, you can see I've sped this video up a little bit, but it's something I try to do very carefully. Um, I want to watch the thickness that it looks, you know, as much the same as possible all the way around. So I'm taking a lot of care here, and I am going to turn my paper around because I want to make sure that my arm is going to be able to move with this. The right curve. It's going around this, uh, watch face. We're working our way around almost there. Okay, great. So now the hardest part is over, Really? For me. And now it's all about just getting those details right. Getting a little bit of reflection to accent the metallic watch. Basil and I have completely for gotten the crown of the watch. So that's pretty easy to add. I'm going to go through with, as I'm going through with this micron PanAm adding some ah accents to show definition. And also, you know, the dark part of the reflection is an important part. It really just, um, just really, truly give some great definition and, uh, brings your eye where you want it to be brought. Essentially, was this detail in that crime a little bit more. They can come back with the metallic gel pin afterwards and just fill it right in without going over my micron pen. So now, wanting a little more shading and definition on the watchband. So while that's it's good to kind of take a break from one part of the project and maybe go to another, give yourself a chance to assimilate it, see what you want to do with it that decided, wants this watchband a bit darker and then, of course, creating this shading to show that it's going in a circular motion or direction. I don't want that to dark just enough to show the shading there. All right, so now I am ready to draw my watch hands. So with the metallic Sharpie, I'm going through and doing that and then writing in the time ex logo very carefully in block letters and that concludes our watch project 7. Resist Technique Boot: So in order to do this black and white boot, I'm gonna use the resist technique. Um, and the camp comes with a a cap that it contains a needle that slides inside this metal tube where the resist fluid comes out. So it keeps it from getting hard and dry. And I'm just going to start right in with dropping this resist technique right down and everywhere that I want to be white. That's where I'm putting the fluid. So I'm creating these squiggle lines at the top. It's starting right in around this big flower, so I'm creating a barrier where the paint cannot get through to the white and all the way around. And then back with this squiggle squiggly lines, so much fun and then just carefully around these pedals. So I don't get paint inside of them back with the squiggles and just carefully going through following the pattern of the boot, creating barriers where I don't want the pain to get through. And of course, the squiggles where I don't want the paint toe land on uh and then I'm just gonna drive my tip and put that cap back on with the needle inside, and I've lost my video where I've started my initial layer. So I've redone it for you here, where you can see the resist fluid is literally popping out from underneath the paint. You can see those white marks right through the black. There's a close up for you so you can see the paint going over and the resist fluid just separating itself from the paint. And I'm just going to go through careful not to go into the areas that I've, um, marked off her sectioned off and just continuing to cover all the areas. And this is the actual boot. I've done the first layer and I'm going in with second layer. And once again, you can see how there is. This fluid just keeps popping up out of the paint. It's kind of fun to watch. I'm just gonna go through and very evenly, um, try to keep my areas about the same tone of black I can, and I missed that area the first time. So I'm gonna make that a little extra dark this time just going through the entire project , darkening all these areas. And you could see I made a little boo boo there. So I'm just gonna quickly stop that up. And here's another close up of, um, the paint going down. I missed this section as well, so you can kind of see once again how the pain just bubbles right around the fluid. It doesn't matter how much pain you put down just keeps bubbling around and almost done with these areas on the bottom. While that's drawing, I'm just gonna go ahead and paint the center of these flowers freehand because it's it's not that complicated. So I decided to just add that in and now, creating some definition on the front of the boot so you can kind of see the shape of it a little bit more clearly. And then the soul definition of the heel and this zipper pull So the zipper is on the front of this boot. So the zipper pull is because kind of literally hanging off the front of this piece and now going all the way down the front, you can see Ah, the definition, the boots starting to emerge. They missed that little detail down their own. The hell and down the side of the heel. So now I'm coming in with a micron while that's drawing. And, uh, just cleaning up some of my lines up at the top and, uh, around the heel, adding a little definition here and there. Um, but that's all dry, and I'm ready to ah Ri's move the Does this fluid so little you have to take your finger and sort of rub it off. If you've ever used rubber cement, it's very similar. Um, once you get started, you can use some of the debris to help you remove the rest of the debris. Kind of sticks to each other, six to itself, rather. And, um, just keep running. Makes your hands are clean. When you do this because it's going Teoh, it's going to be all over your your piece, uh, removing this fluid. Just want to make sure you you're everywhere so that you can catch all over the resist fluid and your white will show through because it resists. Fluid isn't pure white. It's kind of a vanilla color. So, um, when you have white detail, it's not gonna look so good when you leave it behind. I'm just quickly erasing all my pencil lines and removing all the debris, and now I'm going to go back and work on some detail. So first of all, I'm going to create a floor or ground. She's standing on this, this Buddhist, any on gravel in the image. But I just want something very basic, just light grey. I don't want the attention taking taken away from the boot, so just keeping it really minimal, just enough for the toe look like it's standing on something. I'm just letting it kind of fade into the paper, and now I'm going to create the, um, shading. So on the backside of the boot, you have a little bit of shading, and I don't want to get too crazy with it, cause I don't wanna affect. I don't want to take too much of the white out of the equation. I just want a little bit to show there's a light source in the front underneath the shoe. There's a little shading there, Um, where the boot folds at the hell right there at Thea in front of the hell where the shoe is shading it behind the heel, and that's looking pretty good. I don't want to get too crazy with it and that concludes the project. I hope you've enjoyed it. And I look forward to see you in the next project. 8. Vintage Mirrored Sunglasses: So I'm super excited about this sunglass project because it's probably to be with one of the most simple and basic and yet the most challenging of the projects. And you can see I'm just loading up my paint with this luscious green color. I'm just gonna start right in is gonna be a lot of tones, as you can see in the image, because the main attraction on this one is the, uh, the green mirrored reflection in the sunglasses. The frame itself is is very, very minimal. So, uh, most of the time is gonna be spent creating this, um, reflection effect. And you can see I've gone a little bit. There's this little sliver of light paint right at the end of that lens that I don't want to lose every little light source and spot and and in dark line and whatnot is so important in reflection, because it really tells the story and makes makes the reflection pop. So I don't want to lose any of it that I can. So now you can see this rectangle shape going right through the left lens kind of ends and goes upward in a triangle shape on the right lens. So whatever it's reflecting has changed the shape when it got to the right lens. So super interesting looking. Oftentimes it's the same reflection in the lens, but this is quite different. I found it. Really? Um ah, quite lovely. So now keeping that center, there's a sliver of light right in the center of that left lens. Want to make sure I keep that un with just light pain on it? So it really pops by the time I get that one is dark as I want it later on. And I'm just gonna slowly add color so that, um first that number one, it picks up Ah, deeper dimension of color. Uh, you can see him adding yellow. Now, I didn't even notice that there was a lot of yellow in this image. And after looking at it for a while, you start seeing things that you didn't see before. And that's another reason why I just slowly add layers. Um, because as you're looking at it, your I starts discovering things that just didn't see right in the beginning. And those are the things that are going to make your image look extraordinary. They're those of the details that are going to make your image pop. So it's really like a study, if you will, of color and shape and form. It's been a while since I've done are reflective ah, painting like this. So I'm really having fun with it and kind of re learning some of my old tricks. So that side there is going to just fade into great from dark, read a light gray, and I want to create that very distinct line going to at the bottom of that dark reflection . There you can see the gray is really starting to build now, but I've got a ways to go, adding more yellow at the bottom where I didn't see it before. It's quite a bit of yellow at the bottom. It just didn't even notice it before. It's it's very subtle, but it's a really nice fading effect that it's going to create and again sharpening those lines with some darker grey boy, that right side that lenses really dark. So one of beef that up and again you can see I'm going for the luff lends to the right loons, the left lens, Um, not only to keep them even as I'm going. But also toe let one side dry a little bit. I'm keeping the paint pretty, um, pretty light coats. So that dries pretty quickly. And I could go back and keep layering, um, pretty frequently. And keep this painting moving. Yeah, it's not a short process, so I want to keep it moving as much as I can and can see. Now I'm letting both of these lens areas dry while I work on the frame itself, just adding the dark areas. I'm going to be coming back with Micro because they're not really dark enough, I don't think, but we can do that later on. You can see I've just added details to the bridge and this beautiful filigree that comes out on either side very delicate detail. But now you can see I picked up my micron and I'm going heavily at the black then frame that's going to go all the way around both of these lens areas and ah, some of that black has some reflection in it too. So I'm going to be very careful as I'm going around to leave some light areas that it looks like the light source is bouncing right into it and reflecting. So it's a very thin area, and it's a very regular shaped area. So I want to be really careful and just go slowly as I can. Ah, this is sped up. So I'm going even slower than this just to make sure I don't botch it up because this is gonna be Micron is pretty permanent. I mean, can't really go in with water and and try to do too much with it. So I want to be really careful and, um, really a Zach your it as I possibly can. And this is just a game of focus. Ah, I really try to relax, but also try to concentrate on the areas I'm hitting. You can see I'm doing the same thing with the bridge. The bridge is metal. So, uh, I just want to hit some dark areas where the reflection is hitting the metal on gonna be coming back with a metallic gel pen to do these gold areas. So just on the US, those areas just just kind of basically touching them with the micron and I'll be going back and finishing them up later on So again, it's a lot of looking at the image, looking at your work and back and forth. Um, adding the nose pad that I missed in my sketch. That's an important detail now on the right lands, right? Uh, right side the same thing. Now this one is a little bit rounder because the glasses are curving. Um, you'll notice the left side is a little more up and down and the right size a little rounder. That means the glasses air curving toward the viewer on the right side. So a little different shape. And I want to be sure to go in and capture some of this filigree detail that is essentially reflection on metal, Um, going back and capturing the temples behind and back onto the frame. So those little details gave me a little break from that circular exercise. It's pretty. I've gotta be pretty accurate. So I want to make sure I'm not over focusing and getting too caught up. You could always break it up with another part of the project and come back. If you feel like you can't focus on it anymore and be accurate, that is definitely a trick. I've used many, many times on projects that require a lot of accuracy. So because this side is Rounder, it's gonna be a little bit more of a trick to keep it accurate. So I really gotta I really have to focus on this one. You see on the bottom. I've got to correct some hedges there, but it's shaping up nicely. We are very close. You Our project is really getting some definition. Now the Micron is giving it a nice pop of definition. Have been going back and getting that filigree detail on the left side and now the gold gel pen. This is what I've been waiting for the entire project. Getting this gold reflective gel paint on here, Um, I think, is the most exciting part of this project. It's going to create that reflection and give it another dimension of color that, ah, the project currently doesn't have so very carefully going around the very edge of this land's. It's mostly black, but it's got this edge of gold metal all the way around it. And, of course, on the Temple Tips Temple hinges there on. I have to be very careful not to go over too much of my black and lose some of that detail . So really trying to just slip in between, um, the black lines I've made or right outside the edge of them back to the micron. I really wanted dark in this temple tip a bit more and changes shape. It's a little ob long at the bottom there, okay? And just going in with some shading now and you can see where I've made some micron shading . I'm just gonna go right over it with the and fade right into the water color with it, and they will accent one another just creating a table source. And I wanted to be ever so light, but I wanted to just be barely there so that the attention is not taken away from the sunglasses and adding some yellow again that I didn't realize was there. I'm gonna let that dry a little bit and come back and shade it some more and again. Just coming back with another was very light wash on the table source. I'm hoping that will be just enough. It's just a little light. The first round to be visible enough and now coming back with some darker grey wash just ever so slightly. I don't want to cover the yellow. I just want to tone it down shows right through the grey, which is exactly what I want and then coming back with so darker details over the gold just ever so slightly down the side where that Ah bridge attaches to the frame and I'm just very lightly. There's very few pencil marks left, but I'm just going through industry. Moving those very carefully as my pain is drawing. Having a little bit of light wash toothy knows pad and a little bit of shading to show the light source and can just a little bit of pencil mark there and that concludes our sunglasses. 9. Woven Hat: So I've sketched out this lovely woven hat, and I have created this grid pattern in pencil that I'm going to, uh, cover over in a light wash of black water color so that the woven pattern just shows right through the paint. And it gives it a whole ah, unique texture. So that this, you know, just that woven pattern kind of comes right through the paint. And I'm just trying to create an even evenly colored broom avoiding the area of the flowers . And I've made if you look at the image, the flowers are much bigger than mine. I just really wanted the woven ah, effect to really stand out. So I made it a little bit larger, Brandon. Little smaller flowers and you can see because of the light source being on the backside of the hat, making this brim much darker as it is in the image. Perfect. Okay. And then now, starting in with the yellow with the flowers and, uh, me and my impatience. I didn't wait for the black Teoh to dry on the back side, the brim. So some of my yellow started running into my block and you can see I just soft that up and I'll just have to go back and dark in that as soon as the yellow dries and again, just like in the pencil lines of the flowers show through as well. And I'm just carefully going back and darkening that for him. Careful not to touch the yellow part so it doesn't bleed again. And I want to just to fix that line So it's nice and even going around that brim top. I'm just creating a little bit of shadow underneath the flowers that you can see in the image a little bit of shadow right underneath. Um, that adds a little bit of interesting contrast. I just want to add a little bit more shading, especially since there isn't a lot of color. It just seemed like a good idea to create a little bit of drama with the lighting. This this project's going to be super simple, so I want to, um, play on some of the war settle details to give it a little pop, and finally I want to add a bit of an outline. You can see the image. There's a bit of ah of ah outline in the stitching of this peace. Maybe a little extra piece of woven material. I don't know, but it's It's a nice little accent as well to work the shape of this piece, just making sure it's nice and straight looking. And that's all there is to it. I'll see you in the next video. 10. Thank You!: thank you so much for joining the class. I really hope you got inspired. Grab some tools and materials and started diving in on your own fashion accessory projects , including some fun technique and special effects. You can share your project in the project page under the class videos, and if you need any help with anything at all, you could reach out to me or any other students in the community section. I hope you'll leave your review for me so I can improve my classes going forward. And if you hit the follow button, you'll be of notified of any new classes or updates. Thanks again for watching until next time. 11. Bonus Video: