Midcentury illustration with Android (Using Ibis Paint X)

1. Getting Started: And welcome to mid century Illustration using only Android. Now, I don't know if you're like me, but I wish I had an iPad, but unfortunately, I don't, which means no procreate for me. So I love all things retro. I am absolutely retro, obsessed. I love the textures, I love the look, I just love everything about it. And I love trying to take old techniques and turning them into a digital format. So, welcome. I'm Mich Mybg. I'm an author, I'm an illustrator, and I'm a all around creative do that just loves learning new stuff. This class is all about starting with a bland canvas with only an idea, using a character that I'm going to give you the base to using a print rush that I've designed for you inside IBs paint X, which is the free app that we're going to be using for this class and turning it into a beautiful, finished retrotyle masterpiece that you can then use on prints for clothing or you can use on your socials, or you can use f of your portfolio. So if you're ready, let's get started. 2. Supplies: For this class, you're going to need a few very basic supplies. You're going to need a drawing tablet or an android phone, like so, and you need something to draw with or you can use your hand. Now, I like to use the stylus. I prefer to use this top. I don't know. It makes it a little bit easier, and my daughter prefers this one. Either or a stylus is an optional extra, I just like using it. Then I also like using a drawing glove. Now, you don't need one of these, but it definitely does help because let's get it on. Because it stops your palm from registering when you're busy drawing. It makes it just that a little bit easier. Then you're also going to need on your tablet or phone installed IVs paint X. Now, that is the app that we're going to be using for this class. That's it. 3. Midcentury Style: Welcome to the theory part of this class. Now, we're going to get into creating your actual artwork in just a little bit. But first, we need to look at what makes mid century style art, Mid century, what makes it different? Now, a few very important characteristics of mid century art are geometric shapes, simple shapes. Things are broken down into the individual components, and minimalistic design is very important. Remember, if you're printing things, you want to keep details to a minimum. So paper textures also bring that kind of retro feel to your work. So it feels like it was a traditional media artwork, instead of being digitally created, which sometimes feels a little bit cold and sometimes feels a little bit removed from the people, you know? So, also geometric patterns, solid, bold black lines are another trademark. Remember that during this time, spice and nuclear warfare were a very, very big part of things. Because remember the mid century period. It's kind of just from after World War two, all the way up to the late 60s. And during that time, Russia was launching stuff into Spice. America was following the Spice race was on, and people were setting off Nukes. People used to go to open fields to go and look at the nuclear explosions, which gives you the classic, nuclear lamps. It's essentially a lamp that goes like that. So in the shape of a nuclear explosion, people used to buy these things and decorate their homes with it. And massive influence on home decor and on art was the space elements. So you'll see lots of twinkles and sparkles and planets and atoms and rockets, and things like that, right? Little space elements, were very important. Another very important element that I want to include specifically is misprints. If you're thinking of traditional print media, it wasn't possible to really get everything perfectly aligned like you do on a printer nowadays. You will find that you print something and then you put the paper again with a different snsil and we'll get into different printing techniques in a little bit. But you put something else on top of it. It's not going to 100% aligned. Sometimes you get the end of overlaps in places where it wasn't intended to, but it looks really cool and it looks authentic, and that's what we want to try and recreate. Those are some of the characteristics of mid century style art. Now, a few artists that I want to talk to you about. We start with Mary Blair. Now, Mary Blair did a lot of the very early illustration. I'll have the slide deck for you to download under resources too, so you can read through there leisurely in your own time. But Mary Blair did a lot of Disney's early animation projects. And her style is very distinctive. You'll see lots of flatness going on there, lots of vivid, bright colors, and a lot of whimsy. It's very happy and childish. And M. So we want to bring some of those elements in with our art. Another person that we cannot talk about mid century art without mentioning him is Andy Worrell. Now, Andy Worrell is famous for his Marlyn Monroe screen prints, and I just love his technique of screen printing. I love the way that the colors overlap. I love the repetition. I also love that he kind of made a social statement with his work, where he stood against consumerism by shining the spotlight on our consumers issue by using things like the Campbell soup, which is, I mean, we have it's like white bread in our houses nowadays. Everybody has it. You could have just as well done a screen print of white bread. It would have still shown us we love to buy stuff. And he elevated the Monday, every day. Us doing just plain housework in jeans and a T shirt. He elevated the Mundane to art status, and that's what I want to try and do in this class, too, is take inspiration from your everyday life and bake it into art. Now another person that we need to talk about is Roy Lichtenstein, and I honestly hope I pronounced that correctly, but he did lots of cartoon type of comic book type illustrations. He specifically on giant canvases, try to recreate the comic book effect. And he also used Ben Day dots, which are not exactly the same as half tones, but it's similar. Those little dotty stipples on a painting or on a artwork that you see for shading. He use those. And we can see a lot of pop art influence in his work too. We want to take some of his elements, especially the simplification of his elements and also inspiration from things that you enjoy, inspiration from shows that you may enjoy. Maybe you want to do your favorite female character from your favorite series using the template that I'm going to be giving you. So Start thinking about what you want your subject to be. Now, let's get into printing techniques. First off, we want to talk about lithographic printing. Now, this involved a whole long process of taking a stone, drawing your design on it, and something like I mean, we all as kids did wax crayon on paper and you paint over it and the wax repels the water, right? They're doing something similar here. So on a stone which absorbs water, they would draw with a waxy medium that repels water, and then you would eventually brush ink over this, and then you would use it to print. The other one I want to talk to you about is screen printing. Now, this is what Andy Worrell use, and this is, I think the most obtainable for us to do at home with few materials. So you would have a screen and on it, you would have a mesh. And then you would print your design. So you'd use a stain sil on your mesh. And then you would draw with something that's not going to let paint through. So for example, a, a paint that won't come off that won't wash off or a gummy substance. You would draw all of the areas that you do not want printed. As you can see over there, the little dost open, that's where the color would go through. Then you would put your paint on top and you would use a squigy to rub your design onto whatever cloth or something that you have underneath it. That's how you design with a transfer. Another one is resy printing. Now, resit printing involves a machine, very similar to a office printer, and you would again have a master stain sil, and then this would print various colors with rollers onto your final design. Now, as you can see, all of these techniques, could not do 100% perfect printing, right? So that's why we want to do the manufactured misprints as I call them. We want to make our work look similar to something like this by shifting it a little bit. Just just looks a little bit less than perfect, which is what we want. A few elements that we will be including in our artwork during this class, include paper texture overlay to give us that vintage feel retro feel, not really vintage, and printed look with misprint. We want to do our art, it looks like it got printed by an old medium, and we're going to shift a little bit, so it looks authentic. We also want to include bold black lines because that is such a mid century hallmark. We also want to go with a bold and bright color tt. Preferably primary colors, I'm going to be using primary colors, but you could go with three colors that stand right next to each other on a color wheel. You could go with opposite colors. You could go with whatever your heart desires. Remember this is retro inspired, not vintage. Vintage means authentic from that period, whereas retro means we are simply taking inspiration, and we are making it into our own rendition of it. Then we also want simple sharp shapes that translate well. I'm personally also going to take quite a bit of Disney inspiration Early Disney because I just love the eyes and I love the general shape of the bodies. Let's get into the next class, which is our practical. 4. Brushes: Before we get started with the actual drawing, we first need to discuss brushes. Now, the two brushes that we're going to be using is Dip pain hard, which comes stock standard on vis paint. We're going to vary this between 1.5 size and two size. Then we're also going to be using the screen print brush, which I'm going to give you the QR code. What you do is you go and download this brush, scan the QR code, and it will give you this brush. You just use this brush, then once you've downloaded. Now, this one, we're going to use in a very, very large size because this is going to be what we're brushing with. Then we've also got, so let me just show you how this looks. I'll just watched the video to be able to use this for free. I modified this brush, but unfortunately it doesn't come as a free brush on BS. You have to just watch the video and then you have access to all of your brushes without issues for a while. This is our D pin hard, there I'm on white. That's the problem. There we go. Black. This is 1.5 size, this is two size, this is what we're going to be using for our outlines. Then this is what your screen print brush looks like. Now you see it's blocky in the way that it works. You can go smaller on it, but I prefer to use it quite large. Then we can go different colors. You see how it overs and planes, and I like that about it. You can build up your different colors. Then we can also go really big on it. Now, these two, the dipin hard is on 100% opacity. This one is on 50% opacity because if you make it 100% opacity, you can't really build it up, it becomes very solid very quickly. Whereas if you have it on a lower opacity, you can build up your layers. You also don't want to go too low down on your layers because then you're going to be drawing forever to get any kind of color on the page. So 50% I find is a very good middle path between being too much and not enough. And then we're also going to be using an eraser. Now, you can modify which eraser you use by holding it in. I like the falter pain hard because this gives me nice smooth, hard eraser lines, where some of them, it blurs a lot around the edges, and I want crisp lines, so we can go falter pain hard or falter pain soft. I prefer the hard. And that is it. You see what I mean? It gives us nice straight erased edges. All right here. I'll see you in the next class where we'll start our drawing. 5. Canvas and Base: To get started, we're going to go into Bas paint, and over here, we're going to set up our canvas. Now, you can go on the little plus icon over there and choose any size that you prefer. Now I like working in this one to 80 bar one to 80 because it's nice square and I like using it for Instagram. I'm going to select this one. You can pick anyone that you want. Rather work on a larger canvas, and then you can always make it smaller than working on a tiny canvas because this is a pixel program. When you make it bigger, your drawing unfortunately is going to pixelate. Rather work on a bigger canvas and make it smaller if you need to. Now, like I say, you can use your fingers. I just like using my stylus and my glove because it makes my life easier, but you do not need these tools. You can work with your finger with no glove. So wave got our canvas. Now, we need to import our base drawings. Now, with part of this class, I've given you some base drawings to use. So you go here to your layers. Then from your layers, you're going to go to the little camera icon over there, and you say import picture. Now, I am going to use the pictures that I've given to you as part of this class. So let's say that we want to use this one. Select anyone that you want, and then you resize it. You can pinch to Zoom. You can resize it anyway that you want. Now, you can bring it off the Canvas light, so I prefer to have everything inside the Canvas like that. And once you're happy, you tick the check. Now, you can say over extract line drawing if you want to, and you can also say background removal. I just always say cancel, and that's fine. And then you drag this to your very bottom layer. 6. Linework and Color Blocking: Now we can do our color blocking. You want to be working on different layers for these. You're going to say, Well, this layer right now is blank, so we can use this one. Then this one, I'd like to turn down because this is our reference. I'd like to turn it down to about 20% opacity and that is good. Then you're going to go back to this layer. Now, you need to decide what do you want to do for and what do you want to do for hair? You also want to consider your colors. Working in a very basic color palette is what I prefer. I've got my colors over year that I'm going to be using for this project. I've got six colors. One of them is a skin tone, the one is black, and then I've got some brown, a bit of a darker yellow, I've got some red, and I've got some aqua. Now, I'm going to do my hair and my eyebrows in brown. Then I want to maybe do a shirt in yellow and maybe pant in Aqua, and then I can go red on my background, or I can go red on my shirt, and then I can go yellow on my background. I kind of like the idea of that. So I already know that I'm going to need different layers. So let's use our base, and let's quickly draw. I like to use the pin hard. Now, dip in hard is it gives me a bit of a nice line. It does pixelate around the edges, but when you Zoom it out, you're not going to see it so much. And then we're also going to be using the screen print brush that I've given you as part of the class pack. Now, you are going to have to click Play ad because unfortunately, it is on the free ibis, you do often need to unlock your brushes. But the nice thing is once you've watched the add, you have your brushes available for the day, and you don't have to watch an add every time you use it. So you say sef free, and then we're going to cut right back. Yeah. There we go. Now, I want to add my hair, so I'm going to do a bit of a low buns. I do want to do I like giving her a bit of a bit of a fringe, and then from there we're going to come down and down and down. Now, while you're doing this, you'll notice up here, there's a little hand icon. When you click on that, this is your stabilizer. If you take it completely off and you do a line, it's going to keep it exactly the way that you did it. But if you switch your stabilizer on and you do a line, You see that it kind of like evens it out. So I do like for the head shape and things like this. I do like using the stabilizer. But when it comes to sharp edges like the eyebrows, you are rather going to want to use something without a stabilizer. So let's turn my stabilizer on. Let me undo those lines, and that is good. And then I'm going to add a bit of a low bond for. And then we're just going to carry on going around the edges. So you just want to finish up all of your edges and make sure that what you're doing now is a closed shape. You can always go in and correct Correct little edges like that where you've gone over a little bit, make them a bit smoother. It's okay if you have little lines going in and things. That's not a crisis, and I'm going to also do my eyebrows. Because they are below the hair over there, I'm not going to fuss too much about it, and this is then my first outline. Now, on your second layer, you want to go to the plus icon and add another layer because this is not going to be my shirt layer. So what do I want to do for a shirt? Let's give her a T shirt. So we're going to go like there. And then this is going to maybe come up a little bit because remember your t shirt doesn't touch your body, but you see how to round it those edges now. So what you can also do if you have your stabilizer on is do it line per line. There we go. So you still get your sharp edges, and then just make sure that you have both sleeves kind of even. And that's looking good. Remember to close all of your shapes, otherwise, when we fill it with color, it's going to do some funny things. It's going to fill in your background, and you don't want that. Don't worry about everything being perfectly aligned either because that's not a crisis. We're going to make miss brands later anyway, so everything does not need to be aligned. Over there, remember to go over. I like how the smooths out. There we go. And then remember because we're working in color blocks. You don't need to worry too much about the inside for now. We're going to be using this again later to make sure that we get everything properly the details properly added. But right now it doesn't need to be something that you worry about. There we go. We're also going to arrow some things once we color block this, don't worry too much about. Let's give her some Cropped jeans. I think I'm going to go over there, like so. And then maybe erase a little bit over yes, we can go higher up to maybe mid calf on this. Then like that? Yes. And remember this one's going to be a little bit higher, and then we're going to just connect over here. And then we're also going to go up and up. There we go. Does that look good? Oh, yes, it does. I quite like it. And now we also need to remember to do the body. Now, I'd suggest if you want to do Because we're going to be working on multiply on the layers, one we've color blocked them. If you do, for example, this whole leg. Let's say you do all of this. And you color block that. When you apply multiply to your layers, this piece is going to look very weird. What I would suggest doing is just doing the parts that stick out. This is why I like to do the clothes first, and then I go in and do this. Let's do a straight line, and then we're going to do the foot Mm. I need a sharper edge over there. So we're going to go like that. And then we come down and see how that looks. That looks pretty good. And we're going to check that all of our layers are properly connected a little bit later. Make sure that if you see something that needs to be corrected, that you go to the correct layer, that you don't work on the wrong layers. So keep track of your layers. You can label your layers. You can name them. So don't be like me. And work without libeling your layers. I'm just lazy. Don't be like me. There we go. And that's done. The feet are looking lovely. For your hands and things, you can really go basic on it. You do not need to, let me first show your way to b it. So over here, you can go under there and say rename layer. And then it gives it a different, so let's rename this to skin. Then we can keep easier track of it. There we go. Bam, and it names it for us. Let's do the hands. You can go detailed on the hands if you want to, but you do not have to, so you can literally keep it sharp angles, and you can kind of go like so if you want to. So let's keep this one very biasic. Because remember with printing, you wouldn't want to go too detailed. If you were doing this as a traditional print, you don't want to sit with all of these little bits that can increase the chances of it printing funny. You want to color block it as much as possible. I do like these hands. That might look a little bit funny. It doesn't look bad. Let's keep it like that. Then we're going to quickly do our hate layer. We, Let's redo that. The recur. So I'm not even lining my lines up properly. That's completely ok. It's going to look very, very cool when we do our misprints. There we go. And now we just go and double check that everything is closed, and we're going to color block. I like to switch everything underneath it off. This was our reference layers, and now we're on the skin layer. Double check that everything is properly closed. Yes. Now, you're going to go to bucket and with bucket, I just use black because we're going to change the color on it in a bit. You check that when you do this, sometimes on the small bits, you might find that it didn't color it properly. So you might find that there's a piece that you have to go back in with a brush and just fix it. You can also over year erase, if you want some sharper edges, if you need to fix some things, you can erase. Now, H. That's looking pretty good. Now what we do is to every single layer. We go and filter, and under filter, you go to change drawing color. Now, when you make it white, you can't see what you've done. I'd like to take it just a little bit off white, so it's still light enough for me to draw over without affecting the color too much, and that is perfect. Then we're going on to our next layer, turn this one off. Turn the next one on, go there, and then we're bucketing. These are my jeans. Okay. That's looking good. Didn't miss any pieces. Yes, perfect. Then filter, change drawing color, same color. So now, this is what we've got so far, which is perfect. Then you go back there. We're going to bucket drop the shirt. Nothing that needs to get filled in. Again, you can go in and sharpen your ages a little bit, but I'll prefer to have it kind of look a little bit more rough. There we go. That's good. And then we're going to filter, change drawing color down and onto our hair and eyebrow. And then bucket. I think this is where it's going to get a little bit fiddly. Okay. That is fantastic. So sometimes when your lines intersect, it does a little white piece, and then you just have to go in and fix that. Now that we've got all of our color blocking done. Hold up, I forgot to filter that change drawing color, yes. Now, next up, we're going to apply a print effect to all of these layers. 7. Print Effects: Now what we want to do is we want to apply our res texture. Now, I will show you quickly the difference between just clipping versus alpha log. For clipping, I created a new layer, and then let's clip this to the layer below it. Now if you're going to draw, you can use your screen print brush, and it's going to apply to that layer. But then as soon as you as soon as you unclip it, see what it does, and I'm not crazy about that. What I would say to do instead is to create a folder, you say add folder, Then you pop all of these into your folder. Once they are all in the folder, I will duplicate this folder, so this is then my base untouched folder. We say duplicate folder, and then I can just turn this one off. Now we're going to be working in this one. I'm going to be working with the hair layer first. Over there, you go and you say A for Alpha lock. Now once we've got Alpha lock applied to the hair layer. We're going to go to the brush, make sure we're on screen print, and then over here, I'm going to select my brown, which is what I want to use for my hair and my eyebrow. Now, I also want to make sure that it's a bit of a grain texture. You'll see the difference between using a smaller one versus a bigger brush. I like what this does for me. Now, also make sure that the layer is on top that you need on top, because otherwise, the skin would blur out the eyebrow that I'm trying to do. So make sure that your layers are body at the bottom, clothing, and then right at the top, you have your hair. Now, this is done, and you can also adjust the color to make it a little bit lighter if you want a bit of a change in the tone going on there. Once you're done with your hair layer, you want to go to your skin layer. Now this one, I'm going to drag all the way there to the bottom. Remember this is just my drawing reference, I've left out off. Now we're going to do the skin. I use this peachy pinkish color for the skin, and you can also switch your opacity on your screen print brush on to 50% because that allows you to build on your layers, so you don't have everything 100% opacity. I've forgot to put my Alpha lock on, switch on Alpha lock, and then we're going to do this skin. Again, you can lighten the layer the brush a little bit if you want to. You can make it darker if you want to. I kind of like what it does that it gives me not a solid color. It kind of has a bit of variation in the color going on, which is quite lovely. And then we're going to go onto our next layer, which is the shirt. So I'm going to do my background in yellow, and I'm going to do my shirt red. So Alpha lock on this, and then we're going to go down to the red. And there we go. Now, see, this is very dark. I'm not crazy about how dark it's coming out. So I'm going to add a little bit of lighter red in there. See what it's doing for me with this. It's giving me kind of lighter speckles. And then we can go there. You can also make it smaller. You can turn the opacity even lower if you want to, but I like the opacity like this. I also like working on a lower opacity on my brush versus adjusting the opacity on my layers. Then we're going to go on to the next one, which is going to be my pants, and I'm going to make those qua. And then we're going to go my brush is still selected, and we're going to go onto my qua. And that is good. You see what I mean with the base layer though? If we made the base a darker cutter, this would come out very, very dark, and I like to go from light to darker as I needed. Again, over here, you can kind of go in. If you want to add details. You can go smaller. You can make this a little bit darker. If you maybe want to have a little bit of shadow going on over here where the legs cross. I prefer not to do that, though, because I do want to keep it as authentic as I can to what an actual Peetro print would have looked like, and you won't be printing shadows. So there we go. I kind of like that. Let's play around with this again a little bit. You have your base color, but you can go variations off. You don't need to have everything exactly the same shade. Then that is it. We've done our color blocking. Now we've done all of our color blocking on all of our layers, and last but not least over year, we want to add an extra layer, and this is going to be our background. Now, I want to go really light on this. I'm going to use yellow for it, and I'm going to print my whole background. So it comes out a little bit dark. We're going to fill everything in and then I'm going to go in and lighten some of the areas and just play around with my variations on my colors again. There we are. So you can add a little bit of depth. You can add a little bit of highlight going on there. Remember, in the final when we're adding our details, remember to sign your work because you should be proud of the work that you do, and you should be signing it. Okay. Let's see how that looks. Hmm. That gives me a little bit of definition of my figure. That's quite lovely. Alright, I remember to back space, if you're not quite happy with something, and then also duplicate this background layer, duplicate layer, turn that off. Just in case we do something wrong. We have a backup that we can duplicate again. 8. Manufacturing Missprints: Now, every think of traditional printing techniques, everything doesn't line up perfectly right. So what we want to do is we want to create some misprints. So we're first going to cut into our bottom layer. So every one of our color layers, we're going to go duplicate. Over there, we're going to say duplicate layer. Then we're going to go to effects to filter. Again, change drawing color, but this time, we want to make it white. So go to white, it's cut out that in white now. Now we're going to go and drag this one down. And we are going to cut it into the layer. So you see it's cut it out on our background layer now. Next one, we're also going to go again duplicate layer, go to effect, change drawing color, to white. We're going to drag this down to just below the bottom layer, and we're going to cut it down. Then this one, we're going to go and duplicate layer, filter, change drawing color to white, and we're going to drag it down and cut. And then last but not least the hair. We want to again duplicate layer. We want to go to filter, change drawing color to white, and drag it down and cut. So now we have that cut out. And now we're going to create our mess prints. Now we want to move these layers. But first, we need to turn all of them onto multiply. The reason we do this is with traditional printing, you'd have one layer on top of the next. So the print would overlap. So we want to go and give that effect. So we're going to go to every layer and say, multiply. Now, this layer, you see this one says normal, this one says multiply. We're just going to switch them all to multiply. Now that that is done, we're going to move our layers. Go to any of your layers and click on this little move icon. Now we're just going to go, I'd like to go about two to three. You can go in any direction. You can make it a little bit random. But what this did for us is, you see this little white line that it's done for us, and you see over year where it overlaps, that's thanks to the multiply. It's like it's printing one color on top of the other, which is exactly the effect we're looking for. Then we're going to go to our next one and also shift this one. Just go a few to the side to either side. And again, like I said, you can vary it. You don't need to go 321 specific direction. You can go three this way, and you can go two this way. And then we do our last one and move and one, two, let's go one, two, three, and 12. You know what? Let's go this one way instead. And that is it. That is how we create our miss prints, quick and easy. See that lovely overlap. That is perfect. That's exactly what I wanted. 9. Final Details and Paper Texture: F. Now that we've got our whole drawing almost done, we need to add some final details. Now, we know that bold black lines are a bit of a mid century thing. I'm going to go back to dipping and I like to use this on two point s and black. Now we're going to take that, very base layer that we were using as a reference in the beginning and drag it all the way to the top. Now, this is going to give us We can turn it up a little bit, after 30, and then we're going to use this as a guide for our black lines. Now we want to zoom in a little bit, and on the things like facial features, we just want to go over and accentuate. Now, again, I like to use the stabilizer on this because it gives me a bit more control, and we're going to just go and block everything in that we see over. Yeah. Now, this is going to be solid black lines because we again want to make it look kind of like it was done with a marker or with a fine line, pen or something over the final printed. Project. Now, if you find that it's a little bit like when you do a line like this to color, it stabilizes it. So you can undo that if you want to fill in and you don't want the thing to correct it too much. There we go. So if I turn my stabilizer off then I'll be able to fill this in without doing some funny stuff. All right here. That's gorgeous. Now you'll see once we've done our black lines, I want to go over, like my mouth, but some important features. I want to go over. But I don't want to necessarily outline everything. Like the ear and things, I might or might not. This little line over ear I usually do like to do just to show to accentuate the chin line. Then sometimes you can even do the little nose if you want to. But we'll turn off our guard layer in a bit and then just see how it looks. I like to just do basic facial features, and then I also like to accentuate my clothes a little bit. I'm going to turn my sve laser back on and then I'm just going to add some details to my clothing. You can go very rough on this. I like to go very rough on it. I don't like to make it look too perfect. And so kind of like it was done quickly after the printing. And there we go. Let's go like then we're just going to go there. I like to add clothing folds and things here too. And then I won't do that whole line, but I'll do a little bit of a line over here. And then we just add some clothing folds. Because my characters usually wear jeans, I'm going to add the little belt loops, and I might want to add some pockets. Let's add some pockets. Let's add that line over here that usually comes on side of your jeans. There we go and along the outside. And this is where you're going to be adding in your details on the pants. So this is why we didn't worry too much about it when we were doing the color blocking because we knew we were going to come in and do this afterwards to show where all the lines go. And then we've got that and we're going to check that everything looks the way that we wanted to in a little bit. There's my clothing, there's my face, that's all of my black lines that I really wanted, and we turn off our guide and stay on this layer to make sure that everything looks the way that we wanted to. Now, this is looking in my opinion, pretty perfect. I just need to finish that line, and that's looking pretty good. Then we just add that line in there too. Yes, I'm very, very happy with this. Now we can add an additional layer, so we make another layer, and then this is going to be my white layer. This is for usually you will see in mid century style art, like we discussed, little star elements, space elements, little you know, sparkles, things like that. I just like to do my sparkles really simply like this. You can also do little stars if you want to. But see, it kind of goes funny again when you have the stabilizer on so you just switch that off. And then you can go and then we can color this in, and you can erase it to give it some sharper edges. You can go really rough on it. It doesn't have to be Perfectly drawn because we want to go for a hand drawn look. Now, if you have an element that you need to move a little bit, you can lasso it, and then you can move it, so we can scrivel it because I like it better upright. And then, remember to switch off selection, otherwise you're going to say in the lasso tool, which is not what we want. And then we're going to add another little detail There we go. You can go bigger on your brush, but I prefer having a smaller brush because it allows me to do more detailed work. There we go. And then let's add a little bit of a sparkle. And then you can also do little circles and little dots to show some sparkles, and that is beautiful. Let's turn that into a dot. This one can be a slightly bigger dot. Make sure that you balance your composition, make sure that it doesn't feel off center. Keep taking back and make sure that it looks balanced. There we go. That looks lovely. Now we want to go and add another layer. Now, this was my black line layer. You want to add another layer underneath that. Now, you don't have to do this. You could do this along with your color blocking, but it bothers me that the eye color on the inside is not white. I'm going to go slightly bigger on this brush. Then I'm just going to underneath my black layer. I'm going to fill in the whites of the eyes. So we do this underneath the black layer, so we don't have to worry too much about going over the lines. And then I like to use the same red that I used for other elements inside my art and just to color the lips. Now, I know this isn't the reso brush. Well, I know this isn't the print brush, but it's a little bit it pops a little bit more, you know? My details I like to have clean and crisp like this. And I would call this D. This is absolutely lively. I like it. I'm very happy with it. You can add extra lines and things if you want to. I don't think I'm going to I might actually erase this nose. Let me just go back to my nose layer and see if I erase this if I like it. I actually like it better without that line. Let's see if the ear makes any difference. Again, you can go bigger on it if you want to work quicker. I also like it without the ear. There we go. And that is gorgeous. I'm going to call that a win. And we are done with our detail layer. Now we just need to go and do paper texture. Now, you've got all of your work inside a folder. This is this is our base folder, but this is the folder we've been working in right now. What you want to do is go back to the camera icon, and you want to import those pictures, well, the paper textures that you've gotten off of slash. So we're going to go to images, mine sales under downloads, and then you're going to add your paper texture. Now, choose anyone that you like. So now that we have our paper applied, we can make bigger or smaller, so it can fit over our artwork. Now, drag it until it looks good. There we go, Let's say we're happy with this. Then we say yes. So we do the check mark. Now, we want to say again, cancel because you do not want to extract the lines on that. Then we want to clip this to our folder. Now we first need to adjust this. Instead of normal, we can go either multiply, which makes it a little bit darker, or we can go overlay, which makes it lighter, you can choose the vibe that you're going for with your work and then adjust the opacity on it. I've left it on overlay now, but I'm just going to adjust the opacity down to around 50%. Then we can go see again, which one do we like beta? Overlay or multiply. So I'm going to stick with overlay because I like how it looks. And that is it. You've applied your paper texture to your work. And now the only thing left to do is what I forgot to do earlier, go back to my white layer and sign my work. Now I'd like to just sign with whatever color I have available there and make sure that you go back. I normally like to use 1.5 size for my signature, and then we're just going to quickly sign it. And then our art is done. Now, we're going to chat in the next class or in the next lesson about how you can actually use your artwork for various purposes. Well, you can just go ahead and post this on Instagram the way it is because this is beautiful. Thank you for joining me, and I would love to see what you've created in the class project section, please. Load it ask for advice, and I will see you there. 10. What's Next: Welcome to the final class in this class, the final session in this class. I'm very excited about what we've done during this time year, and I hope you are super duper proud of yourself for everything that you've accomplished. Now, we did everything from doing the Canvas setup using a base that I've given you to draw your character. We've done the print brush. We have done the shifting of things to make misprint effects. We have exported our final product. Now, what do you do with it? There's quite a few things that you can do with it. You can either sell it as digital prints. There are places like Redbubble and Society six, where you can have actual Canvas prints made of your artwork. You can put it on merch, like on mugs and on T shirts and on coffee cups. There's a whole bunch of things that you can do. You can make greeting cards, notebooks. You can put it in your portfolio, share on Instagram. If you just use those to share on the socials, that's absolutely fine. And Just be proud of your work. Share it out there, get it out there and continue growing. Now, please reach out to me, if you have any questions, if you have any advice that you need, I am here, reach out. Also, remember to share your project in the class project section and tag me on the social. S underscore Ala, tell me so I can show you some social love and remember to follow me on skill shade. You don't mess out on my next class. I will see you then. Keep on creating and enjoy the journey.