Fashion Illustration: From Client Brief To Beautiful Piece | Jennifer Lilya | Skillshare

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Fashion Illustration: From Client Brief To Beautiful Piece

teacher avatar Jennifer Lilya, Fashion Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (56m)
    • 1. How to work from a client brief

    • 2. Supplies! Supplies!

    • 3. Sketch Out Your Illustration In Paint

    • 4. Skin Shading And Face Detailing

    • 5. Layering Color To Create Shapes

    • 6. Using Ink Lines To Bring Your Illustration Together

    • 7. Finishing Touches & Shading

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About This Class

Many designers and business owners have fabulous ideas in their heads but they can't put them down on paper in a useful way. A fashion illustrator's job is to take their random ideas, stick figures, inspiration tears, and swatches of pattern/color and turn them into illustrations that can be used to make patterns from, or illustrations that they want to use in their advertising. In this class you will learn the basics of fashion illustration so you can effectively communicate your own designs or the design and branding concepts of others.

To learn these skills you will be given 'inspiration' for a womenswear brand/store through a hodgepodge of notes and random ideas. You will then turn the "client's" direction into rough sketch concepts and one final full color illustration.

Through video lessons and curated resources, you will learn key skills like how to:

  • sketch the fashion figure, emphasizing pose and proportion
  • add color with acrylic paints to create shape and texture
  • add ink details to style the look and finalize the illustration
  • work with a client brief to execute their vision

This class is for anyone interested in fashion or figure illustration, students looking to improve their portfolios (to apply to art school or jobs), fashion designers looking to improve their illustration skills, and illustrators looking to improve their concept/client/painting skills. Of course, this class would also be great for anyone that loves to paint pretty things! :)

Meet Your Teacher

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Jennifer Lilya

Fashion Illustrator


I've been illustrating fashion since the early 90s after graduating from FIT. My love of runway sketching has afforded me opportunities to work with magazines, ad agencies, fashion designers & PR firms. I specialize in traditional fashion illustration, but with a modern edge & witty hand-lettering. All of my work is done in acrylic paint & black ink on paper.

My clients include ELLE, Saks Fifth Avenue, WWD, Stila Cosmetics, Katy Perry, Neiman Marcus, Bloomingdale's, Dolce & Gabbana/Swide, Edelman, Givenchy, Mood Fabrics and many, many more. I currently live in Brooklyn, NY with my husband and lovably mean chihuahua.

Please check out my facebook page and personal website for more information!

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1. How to work from a client brief : - Hi, - I'm Jennifer Lilia. - Welcome to my studio today. - I'm gonna talk about how to take a client brief and turn it into a fabulous fashion - illustration, - As fun is, - painting can be. - If you can't convey your clients requests into an illustration, - then art is just gonna remain a hobby and not become a really awesome career. - So you guys have seen my final illustrations at, - like in ads and on websites and the stuff that I post on Facebook. - But you're probably not aware of all the stuff that goes on behind the scenes and the days - and sometimes weeks that it takes leading up to the final art to actually get to there. - So occasionally I'll have a client that will let me paint anything for them like, - just go crazy, - which is really fun, - an awesome. - But it's not a regular occurrence and normally have to work with a client briefs and these - air specifics for client branding, - like whether it's like the style of the girl color scheme, - you know, - specs and sizes to fit on their websites or in print ads. - All of these things come together to make a final illustration. - One of my favorite client briefs came from Michael's Consignment Shop for Women, - which is this really awesome high end consignment shop on Madison Avenue. - And the store has been around since 1954. - They approached me about a year and 1/2 ago to update the Michaels girl Sophie, - who has this whole back story, - which is really fun. - Michaels has a great history in the city, - and I love any store that uses fashion illustration. - So I was like, - Yes, - this is fantastic. - I actually still have the original client brief that I got from Michael's when I first - started working with them, - and they went on to explain Who's Sophia is the girl that shops at their store? - Um, - Sophie's incredibly stylish and hardworking. - She's got a fun loving personality, - flair for fashion. - She enjoys every minute of every day, - and she's always dressed for the occasion. - By day, - So few pitches Fortune 500 Flying's Chanel pantsuit, - and by night she's sipping bubbly like at an art opening wearing Prada. - Or she'll be at a charity gala in an Oscar de la Renta gown. - So Sophie is just a total city girl. - She loves her designer stuff But she knows where to get a bargain. - She's totally fantastic, - and it was super setting to be able to, - like, - update her. - She looks like she doesn't have to try. - She's naturally stylish. - She's fun, - fabulous and fashionable. - That's my kind of thing. - So the first illustration job that I had Michaels was to update these girls for a quick ad - that was going up on the website announcing that there store was gonna be closed for a week - or whatever for renovations so we can see that these girls look a little dated a little - stiff. - I said I needed to bring Sophie into today, - so I basically I took the same the same long gown and the same little suit here, - the dark hair or whatever, - and I just I turned them into modern girls and made them lighter, - fresher, - just like an era phone about them. - So this round of illustrations was just a stepping stone to what Sophie was going to - ultimately look like, - because you're not gonna be wearing a king sequined gown with up doing jewelry every day. - I had to work more towards this angle for their everyday print ads for first Sophie. - That's like working all day and then going out at night, - not necessarily to Gallas. - What So after some rough sketches of different hair styles and some different outfits, - this is how Sophie ended up being just a really cool, - hardworking girl like hair back, - which is practical but can go from like day tonight and, - like, - sort of any event. - And I kept the pink of the old as and teal and then brought in some black and gray to sort - of ground everything and just, - you know, - make it my style because I work with black ink all the time so you can see she's just, - like, - super psyched to be shopping Michaels. - And she's happy she's getting a deal like she's just cooler and like, - more updated than the older branding. - So, - as we progressed with Sophie over the past year and 1/2 or so you can see like the pink, - the teal and the gray is still a running theme. - But she could be basically dressed in anything, - and she still got that personality. - You know, - she's the Michaels girl right here. - She's holiday shopping, - so she just has that, - like extra little like fund your mouths and boots Key little dogs. - So this is one of my favorite illustrations. - This is Sophie cleaning out her own closet at home and bringing her clothes back to - Michael's to sell on consignment. - So she's just, - like, - filled with, - like, - Oliver accessories, - including hats or whatever she's all like. - Oh, - I need to clean my closet out so I can make more room to buy more clothes. - So this will be upon the website. - Very. - I think she's very cute. - Since this video isn't just about illustration, - it's also about working with your client. - I just want to show you some of the rough sketches that I did for this version of Sophie - with her closet that's like overflowing, - and she's got to get rid of some of her clothes. - I did four for the client Tammy, - It Michaels, - and this one was just like, - you know, - Sophie trying to, - like, - hold back excluding closet. - This one was her on the floor, - just being overwhelmed by, - like all the clues that she's surrounded with same sort of concept here, - just like exhaustion with the closet. - And then the one that Tammy finally went with is just Sophie literally wearing like her - tons of hats and bags and whatever coming out of her closet, - like just being like, - completely overwhelmed. - And she knows that she needs to go consign these clothes that she could buy even more. - So basically, - this role sketch turned into this and you can see it's like it's pretty similar, - even with the bag around her, - her chest and like all the hats and everything, - and I had to do Sophie separately so that she could be used separately on the website. - So I did the background closet on a separate piece of paper and then put them two together - and put the two together. 5. Supplies! Supplies!: - I want to go over my supplies and the way it's set up my drawing table, - because this is literally my favorite spot on the planet, - like everything has to be in order and usable and like, - inspiring so that I can work really comfortably and be really productive while I'm here. - So I'm gonna start with the paper because any good painting needs a really good surface to - start with. - I use Stonehenge, - which is a £90 printmaking paper. - It's really versatile. - You can use it with pains and pencils or whatever. - It actually comes in sheets of 22 by 30 which I had shot down to standard sizes like 11 by - 14 or 14 by 17. - Basically anything that will fit into my standard in one piece without me having to, - like, - scan in sections. - When you put a stroke of pain down on Stonehenge, - it just stays there. - It doesn't bleed. - It absorbs perfectly. - So if you're looking for paper, - you should definitely check out Stonehenge. - So my favorite brushes are Windsor and new in university. - Serious brushes. - You can find them in almost any art store or order them online in bulk. - Like I do. - They're synthetic brush there really affordable, - and they just They create a perfectly smooth line, - but they're sturdy enough to use heavy acrylic on. - And apparently you can even use oil paints with these. - But they're also like, - so smooth and silky that you can use these for, - like, - really fine watercolor washes like I just think they're so versatile. - Perfect. - I only use round brushes. - I don't like flat brushes or fan brushes. - I feel like round brushes, - like are just perfect for me. - Like you can get a lot of coverage with a larger one or a perfect point, - like with any of these. - But my my favorite brush is so it's like hardly even a rush so teeny tiny. - It's the Triple zero, - and it creates like the most delicate detail, - like I feel like they're only a couple of little hairs in this brush. - The detail you can get is just amazing. - So I do a lot of my faces with these, - and a lot of might inclines with these. - I worked with a variety from like the Triple zero to like a size eight or 12 and it just - depends on the amount of coverage that you know that you're working on like you want a - larger brush for, - like, - a background wash, - like a medium rush for, - you know, - maybe, - like some, - you know, - pattern detail or whatever. - Like you just sort of have to experiment like we brushes that you're comfortable with and - sizes that work for what you're painting. - So along with a different size brushes I have. - I actually have doubles of some of my favorites, - like triple zeros and fives and twos or whatever. - I have a brush for dark colors and ink and a brush for light colors. - I find that it keeps the painting fresh, - and I'm not having to worry about like a darker color, - accidentally sleeping through if I haven't rinsed the brush as well as I should have. - So that actually leaves into all the water jars that I have here. - I use certain jars for light colors, - certain jars for just black ink and dark colors, - and then I have a jar in the back that I use just for metallics. - So the more water the better. - Who, - as far as I'm concerned, - I actually don't use black acrylic paint, - use black waterproof Higgins Inc. - Not that you could read this container because it's a total mess, - but I buy it in the size and, - like this container like this will ask me like a year. - Maybe this ink one is waterproof, - so, - like once it's down on paper like you can't smudge it or blend it like once the lines air - dry there just there forever. - You can use it straight out of container, - and it's this perfectly deep black ink that's just like delicious. - Or you can water it down like a like a teeny tiny drop into, - like you know, - a tablespoon of water, - and you'll create these like great great washes that you can use to sketch with on your - paper. - This pallet is the most amazing thing on the planet, - like it saves paint from weeks like I can you tell you, - like how many hundreds or thousands of dollars I've saved in acrylic paint purchases since - I've gotten this palette? - It's a Tom image. - You can buy it online from certain stores, - and it just has all these wells for a rainbow of colors. - It's got a perfect surface to mix the colors on, - and then I have a tinier palette, - which I just I use for my black ink Or, - you know, - just like certain colors that I'm trying to blend for a painting, - and it comes with a cover that you just took it over and your paint will last for weeks - like it's the best invention member. - They also have this super cute built tiny palette, - which I use just for metallics. - Metallic paints. - Acrylics are just really concentrated, - and you never need, - like, - more than a couple drops, - and you can see I've got spray bottles. - Acrylic paint will dry out like this will dry out in a couple hours if I left it out. - So as I'm working, - I'm constantly spraying water on it to keep the painting waste. - And they also use the spray bottles like instead of like going back and forth my brushes to - like, - you know, - sort of thing down paints. - I'll just use the spray bottle to add water to whatever calling, - trying to, - like, - stand out in mix. - So I love working in acrylics over water colors. - Acrylics are just really, - really fun because, - like they're opaque and you can get like these amazing, - amazing richness in the color when you layer on top of each other or this, - like this beautiful translucency to them and my favorite brands. - I used liquid tax sometimes, - but my favorite favorite brand of who plan is golden. - The pigment is really rich. - The pain is just like, - smooth and buttery and mixes so well it's just the best thing ever. - So this is my basic studio set up my drawing table outside of the supplies here, - I have to really bright drawing lamps, - which I used during the day, - even when sunlight is coming in and at night just because they were like a consistent - brightness that I work from. - I just have my wall of inspiration of, - you know, - either reference that I need for a project or just like colors or paintings, - like anything that just sort of, - like gets my artistic inspiration going. - It's like it's basically a whole mood board wall of just fun stuff. - So here's my studio, - and like I said before, - it's my favorite spot on the planet 9. Sketch Out Your Illustration In Paint : - the way I start out, - every single painting I do is taking a little bit of, - like had orange and watering it down like something that's barely perceptible. - It's just it. - It serves as an outline for the sketch, - and that way I can see if something is going to work better, - like being put in one place or another. - If the sizing is right, - if the layout is right, - it's so light on the paper that I can completely move the final sketch over a little bit. - And it's It's not going affect anything except maybe even creating a little bit more - movement in layers of color. - So just singly, - late washing color. - And then I just start from head to toe. - That's gonna be here. - Ponytail, - neck, - high, - shoulder, - high hit. - She's holding a bunch of clues back, - so I'm just gonna indicate that very lightly. - And then she's She's got her hand, - her elbow resting on her hip, - and she's holding line and chatting. - So I just sort of go back and forth, - trying Teoh trying to get the basic shape of this girl, - and I usually just blocked this out as a time saver and once I have a basic shape down. - I'll take a what is that Number three round brush and going with just a teeny bit more - detail? - And one thing that's incredibly important to note is that I let every layer of paint dry. - So once, - if I'm working on this and reality, - I'll have true three other illustrations that I'm working on at the same time. - Um, - I never I never use a hair dryer in the Simon under an insane time crunch because I like to - let the paint dry. - Naturally in Just like that, - the shapes be organic and just how they are. - So no hairdryer time, - usually about 10 minutes per layer, - just depending on how much pain is on the paper. - So obviously this video is gonna be sped up, - but let this dry and then we'll go in in with the lighting sketch out. - So here's where I'm going to start sketching with black ink, - and what I do is I take like a teeny tiny drop of the black ink and mix it with like a well - ful of clean water. - And then I test my brush strokes and and the shade of the ink on paper, - and I use this things, - that paper that I drawn to test on because I just want everything to be consistent, - obviously. - And I don't I don't use pencil to sketch with, - because I feel like I don't I don't enjoy that. - It's smudges and it also leaves a little bit of a dent in the paper. - And I feel like pain just sort of like Wells up in those dents. - And it just it's sort of like messes up the lightness of layers of color that I enjoy. - So I just take like, - a really super late wash, - my Triple zero. - But she can see it now. - How tiny it is. - It's just really awesome. - So I'm starting off with her hair and she's gonna be wearing a little pony tail. - And these are just late a little light lines that are going to be another guy buying for - when I go back in with all the layers of color in detail, - I always start with the face. - I think it's the most important part of the illustration. - And sometimes if the face isn't working out like if she's not as pretty or is known, - is happier not as happy as he wanted to look, - I really I literally just crumple of the paper to start over or just like using a scrap - paper. - I don't like overworking in illustrations that just it feels labored and it feels tired. - I think fashion illustration is all about freshness and fun. - She's gonna be smiling in this illustration and shouting with the other for the other woman - standing next to her. - So she's gonna have a little bit of a smile open mouth. - And usually these inclines are so light that they're not really gonna be noticeable. - In the final piece, - you probably see like a little bits of them, - but they're very easy to go over with darker lines and other layers of acrylic. - So now we're gonna give her a nice long fashion nick color of the shirt ponytail off to the - side, - even though in real life a ponytail, - like just sort of hangs down your back in fashion illustration, - you want everything to have more movement than it normally does. - So we're just gonna pretend she's like in a wind tunnel and, - like your hair is living in the breeze all fashionably, - so I exaggerate the angle of the shoulders. - And when you have a low shoulder on one side, - just basic human anatomy hit is going to be higher. - And if you have a high shoulder that you're gonna have a little hit and you can tell that - I'm not completely using that cat orange under painting, - that's just like a basic basic shape outline. - It doesn't really matter. - It's just It was really for quick movement placement on the page and shapes of each part of - her body. - But towards the end, - this illustration illustrations barely gonna be noticeable. - It's just gonna be another labour layer of paint that's gonna add more movement to the - final piece. - So she's holding a pile of clothes here, - some hangers. - And once again these are just sort of really just late a light indication of where some - color and shape and pattern will be. - These clues, - this one, - her elbows sort of resting against that high hip. - And she's I just got a glass of wine and then just a light indication of her fingers. - You don't want to get into too much detail with the fingers because hands are really so - it's like one of the hardest things to draw. - But once you go into detail of them, - you take a wave of take away from the freshness of an illustration because they're so - detailed, - you just want to keep them simple. - And now we're going illustrating her long, - long fashion, - the eggs. - I haven't decided what sort of shoes she's gonna be wearing yet. - A lot of times, - you know, - details of an outfit or whatever will come to me as I'm painting. - I don't plan everything out at first, - and I think I think that's kind of close to finished outline right now and then I just I - let this dry again. - This will take up a lot that's time to dry than the first layer. - Probably 23 minutes, - especially under these lights try and were you back in a second? 11. Skin Shading And Face Detailing : - So now that the incline is dry, - I'm going to start with the skin tone and some light layers of colored for her clothing and - everything that she's holding right here. - So another light layer of cadmium orange and I always sort of shade my girls from the left - hand side and then, - like, - the light is hitting them from the right. - I think it just stems from me being right handed and literally just like wanting to start - here. - So I don't smudge pain as I go along. - So I add layers of color where shadows happy happened naturally on the face, - a little more sheeting in between between the eyes where her cheekbones are again This is - light. - It's not gonna not gonna show up too much in the final. - And there she is. - Her hands are exposed. - So I'm doing that skin tone there and then where she's holding the wine? - Um, - let's see. - I'm gonna give her some sort of sandal, - so I'm gonna I had a little skin tone to the shoe part, - and as you can see, - I sort of like go back and forth like across the paper, - just where I feel like everything is needed like there's no real Reimer reason like how I - paint when I'm actually get into it. - It's just sort of intuitive at this point. - So if I'm a little quiet while I'm painting, - that's the reason I'm just sort of using my creative mind rather than like being verbal - about it. - So I think the pain is sort of dry enough to work on her hair. - And she's She's a light brunette. - So I'm I'm taking some burn number and burnt Sienna and I'm mixing those two together and, - of course, - testing it again on my scrap paper here. - I can't I'm not sure if you can tell, - but this is I just need a teeny tiny bit of pain. - I think as filming this I feel like teeny tiny is one of my favorite freezes. - I'm using allergic brush to mix, - but I think a number three brush is good for this size illustration and for the detail that - I need in her hair. - I always blot on paper towels and have paper towel next to me if I if you know something is - leading, - or if I put too much paint on the paper so I started the roots. - We're hair's naturally darker. - Get lots of movement in that ponytail. - I'm just working around what? - Where her neck is in the collar and everything. - And you can tell I leave a decent amount of highlights. - I tried to use the paper underneath as a highlight. - I don't like having to go back in and paint with white paint or light paint to create - highlights. - I'd like them to happen naturally on the paper, - so I'm gonna take a dark triple zero again, - which is really the only brush that could I can use for face detail. - And I'm gonna work on her eyebrows and for her eyes, - take a bit oppression blue in black ink. - And I'm excited like this. - I hate using just straight black ink. - I feel like it creates a whole long paper, - so I'd like to make it either cooler with, - you know, - blues or greens or warmer with some red tones. - It's just like a little added interest in the color black, - basically, - So we start with the top lid, - and it's it's just a basic shape. - I don't really do to money lashes. - I don't want to be very literal, - and this is still only the first layer. - So her eyes will be more detailed and darker in the following steps, - and now it can add her eyes. - She's engaging the viewer of the website, - even though she's in a scene talking, - so she's looking straight ahead at us. - Always comes in handy. - Sometimes we'll use a little, - a little burned number too deep in the skin tone like of the under eye. - If I don't want, - like a really heavy like lots of cosmetics on a certain woman, - we're gonna go with more burned number here for the for more of a deeper brow. - Like I said, - I always start with the face. - If the face isn't coming out the way I wanted Teoh, - the whole illustration get scrapped and even in the eyes, - I try to leave paint the paper coming through for the highlight. - I'll add a little highlight at the end, - but everything I do like it just tries to come naturally through the paper, - mixing a little a little more dark, - darker burned number for more hair. - And this time I think I'm gonna use a number to brush to get some some smaller detail in - here, - you can see how the colors just sort of build up and create shapes of whatever I'm painting - . - Her hair has a slight wave to it, - so I usually usually working curves, - some trying, - getting a little closer for you guys. - When you see the detail of the face here, - I've got a deeper shade of black, - but it still has some that Prussian blue in it and deepening her eyeliner and those few - lashes giving her people again. - A lot of this is intuitive, - and I just sort of I just sort of feel out like where I want to give her more detail in - less detail and how glam I want her to be or not. 20. Layering Color To Create Shapes: - Okay, - so now that we know, - her face is offset and the rest of the illustration will be fine. - I'm gonna go ahead and mix up the pink, - and I'm going to use I'm using. - I think it's a number four brush. - I use a larger brush for larger painting areas and a smaller brush for smaller areas. - And again, - I'm working from left to right. - And again, - I'm just loosely following the outline that I I sketched for myself earlier. - She's got some bags and hangers and what not So I'm leaving little space here. - She's wearing a long sleeve shirt. - I pretty much just paint in shapes like I take each section of her shirt, - the collar, - so it's time to add one more layer of pink. - For this shirt. - Just do it. - It's the same pink that you'll find on Sophie in the rest of the illustrations. - - We've - been talking dress really well, - and I'm gonna add in a couple more colors with these garments just sort of wing in this. - You can tell I'm not going completely by my initial lacking sketch. - Like I said it like, - as I'm in the midst of a painting, - some things might change. - And I might just like to add something I thought like would enhance the illustration or, - like, - go against my original plan and just, - like, - make something a different shape, - like I can planet the best I can. - But there always some sort of tweaks when I'm in the midst of the painting and these colors - that I'm using here I have used in earlier Michael's consignment shop illustrations. - So this is all consistent branding ravage illustration. - Can one more layer of grey and see these color lines aren't perfect, - like it's not a perfect shape with a clean line. - So what happens after these shapes? - I'm gonna I'm gonna, - um, - make them really clear and defined with my black inclines. - So these don't have to be perfect. - Some of the pain will be outside of lines, - some will be in. - It's just just to get the idea of the color of each shape of what I'm painting, - I'm gonna darken up this bag. - I don't normally paint this far away like I have honestly, - really terrible pasture. - And I'm always like down in the painting. - So painting this far away from the papers a little odd for me, - but I don't know how else to film it and hopefully can see that sandal. - I just want to make it a little darker to give it some contrast between the gray of the - pant and then a little burgundy for the wine. - Nothing, - totally perfect. - Leaving some highlights from the paper. - And I think, - except for the shoot area, - I'm going to go in and add some more. - Some more skin, - skin tone, - detail ing. - I'm constantly changing out the scrap paper. - I've got piles and piles of it next to me in this sheets almost over. - I see nothing is ever perfect. - I'm always blotting up some splotch or dust or just whatever. - There's never really a perfect line. - It's just just do what you think works it makes you happy and makes the illustration fresh - and lively. - I'm gonna do some skin tone here, - but I'm gonna try to stay away from the sandal just cause that paint is dry. - If I wasn't filming, - I probably wait. - All right? - And then on to the next part, - I'm gonna let this dry, - and then I'm gonna go back in with black in detail. 21. Using Ink Lines To Bring Your Illustration Together : - so I've got some black ink on my brush. - It's just slightly thinned out, - but I'm going for a darker line overall. - Here the's inclines bring the entire illustration together. - I'd like to bury the line if something has, - like a shadow under it, - I'll try to do a thicker England, - and if there's a highlight touching it, - it will be a very thin line, - and it might be broken up as well. - - She's - holding Cem bags and whatnot, - so I'm just like making your hand like she's sort of delicately holding those persons. - I don't want her to have, - like a super crazy firm grip, - just something sort of elegant to keep those hands moving and just like just more graceful - than like you'd be gripping a suitcase or something. - You can add up pocket here just did to break up that space, - and I love getting a little bit of texture with the ink, - like more of a dry brush. - It just creates more interest than then completely wet ink in the same same wait lines all - the time. - I see lots of movement slots of quick, - curvy lines. - If this was realized that closer, - just be hanging on her like, - sort of limply and, - you know, - rather boring. - But since it's a fashion illustration, - I can completely exaggerate everything. - So all these clothes have a ton of movement, - and she's just using her arm. - As you know, - just like for the rack of clothes, - I was like adding, - like a little bit of, - Ah, - a bunched up fabric to like the curve of a waste or or her elbow. - I just think it's natural. - Um, - it's hard to explain. - Why do It's just It's just like a little little signature of mine again. - Another like fun flourish of the collar, - even though the color is probably just straightened triangular. - In reality, - you just want to make it really fun, - light and playful in your illustration, - and you can see how quickly I paint these lines. - I just I just like a really quick, - fresh expression, - expressive incline. - I don't like to really labor over anything too much. - If I make a mistake here or something, - it doesn't completely work out. - Well, - I'll just take thick white acrylic paint and just go over like that's what I'm gonna do to - this part of the hearing that I just sort of extended. - I'm gonna cover it up with acrylic, - and no one will know that mind when a little further than I actually intended it to. - So you guys can totally see the difference of what this black incline does. - It brings all the shapes together and makes them really items on her. - And it's just it's just really my favorite part of the illustration. - Everything is just sort of like beating up to this part again. - More texture, - little dryer lying just adds a little more interest, - and I catching, - maybe some pockets - having technical difficulties. - I tend to do a lighter line on something that's actually skin as opposed to of leather Shoe - . - I'll try to do a little thicker outline for contrast. - So right now, - since she's almost all done, - I'm just gonna go back over the entire illustration and add some more black ink where I - think she needs contrast again. - When you work everything as a whole, - it's just it's easy to make it easier to make it balanced and feel like like a sort of - complete illustration. - - I - feel like I want some texture in some of these items. - She's got a plane outfit on just because there's going to be so much going on in the - background that she really has to stand out as the main girl because there's so much color - in detail and movement that this has to just be sort of a little flatter and in that aspect - will be eye catching as opposed to everything else going on. 23. Finishing Touches & Shading : - I could give this this one a little texture with, - um, - some deeper t o again, - like it's I don't plan a lot of this. - It's just what I think needs to happen to complete an illustration. - And the same is gonna go for the yellow, - actually want a break in. - That too came a little too pale, - and I'm gonna give it a ruffle. - Could be a cute little yellow summery dress so that that definitely has to dry before I do - any ink in there and I feel like and on it up this read a little bit to so it balances with - the wine - again - . - Just little finishing details that I pick up really fun to do. - I think even her nose needs a little more definition, - and she's got some jewelry going on, - so I'm gonna take my metallics, - mix it with a little bit of black just to make it darker and stand out. - I'm gonna add You can add a zipper there, - Zipper here. - Little snap going on her earrings as well. - Are you gonna do late silver for the hangers? - Sometimes the metallic acrylic is sort of thick and gloppy. - Just because it's got the actual, - you know, - like sort of metallic crystals in it. - So really thin it out with water Before I worked with it, - we can see how light and delicate and fun metallics are. - Oh, - yeah, - Maybe a little necklace, - right? - So I'm gonna let this dry. - I'm gonna go back in to define those ruffles, - and then I'm gonna do my final shading. - So to complete the illustration and just bring everything together, - I I do. - My shadows in purple purple is actually normally occurring in a skin tone. - Like I think when people think of shadows, - they think of gray. - But you're not really gonna find gray in skin tone like your skin is really colorful. - So I use I used purple and again I do it from the left hand side of the image just where - shadows will naturally occur, - like along the hairline. - Find her jewelry, - the roots, - her hair and I like some of it to extend past the illustration. - I feel it just it rounds it out a little bit. - I don't like everything to be exact. - I'm not that kind of illustrator sometimes. - Oh, - I'll grab paint from my palate, - but sometimes They'll be enough on this scrap paper that Aiken grab a little bit and add it - to my brush from there. - And I just add shadows where they naturally occur. - Like where her nose is probably creasing a little bit in between the eyes definitely - underneath the chin. - I think it's just it's a great color for sheeting much. - And when it comes to accessories and what not even extend the shadow and out farther just - to just create a lot more movement like she's really swinging these bags includes again - just quick, - expressive lines Don't liver over it too much. - And like I was talking about the permanence of the ink earlier, - you can see I'm going over these inclines with really watery color and they're not smudging - . - It's on the paper. - It's there forever. - And that's why I love working with ink and acrylic paint because you can't blend. - It doesn't smudge. - It doesn't move. - It's just permanent. - And perfect is gonna be a lot of shading in this arm because it's it's behind her and I - want it. - Convey that in the illustration, - and then I think we got it. - Last thing I do sigh it and we're good to go. - So I hope that was fun for you guys. - It was fun for me, - and it was kind of crazy that I learned a lot about painting process myself, - having to break everything down, - piece by piece and stuff that I just do automatically every single day. - So anyway, - feel free to email me or get in touch with me and social media. - I love shouting about art with all of you guys and this year's tweak. - He's been at my feet the entire time trying to get on camera. - So anyway, - thanks so by I didn't kiss it.