Fashion Illustration- The Sketch | Chris V | Skillshare

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Fashion Illustration- The Sketch

teacher avatar Chris V, Artist, Designer, Maker

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

17 Lessons (1h 7m)
    • 1. Intro

    • 2. Tools & Materials

    • 3. Inspiration

    • 4. Prep- 9 Part Sketch

    • 5. 9 Part Sketch

    • 6. Prep- 10 Part Sketch

    • 7. 10 Part Sketch

    • 8. Runway Walk- Sketch

    • 9. Runway Walk- Sketching Details

    • 10. Runway Walk Inking

    • 11. Fashion Sketch Clutch Sketch

    • 12. Runway Walk w clutch Sketching Details

    • 13. Runway Walk with Clutch- Inking

    • 14. Uneven Pose Sketch

    • 15. Uneven Pose- Sketching Details

    • 16. Uneven Pose Inking

    • 17. Outro

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About This Class


I have had so much fun engaging and seeing many of your gorgeous projects in my other fashion illustration courses.  To my delight you have said you wanted more!  So I'm really excited to present my first basic fashion sketching course, Fashion Illustration- The Sketch.  In this class I'll share basic principles of sketching the female fashion figure, as well as my own process, tips,and tricks I've learned along the way.  I'll go over multiple poses so you can see how the body movements work in relationship to the way fabrics flow over the body.  I'll briefly go over some of the body areas that are the hardest, like faces and hands.  Plus I'll show you what few basic materials I use that you may even already have at home!

If you've never taken my previous classes, but ever wondered how those sharp, crisp and on point fashion illustrations were created, or you are looking to brush up on the fashion illustration skills you already have, then you are in the right place!!  I can't wait to welcome you into my studio, a no pressure learning zone for sharing and community discussion.  See you there!! 

Chris V.  ; )

Meet Your Teacher

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Chris V

Artist, Designer, Maker



I'm Chris V., the creative behind, the online wonderland, where I've brought together all my art, collaborations, and other fun projects.  Art and illustration have been a life long passions for me, and I'm so excited to be sharing my knowledge, tips and tricks with you in my classes.

I have a no pressure learning environment, so share any project, question or comment without the threat of feeling like it's not good enough.  We all have to start somewhere.  I did! You might be surprised what you can do. I can't wait to see what you create!  : )

Want a a safe space for us to share ideas, challenge one another, and ask questions? Join my student Facebook Group.

Want to paint... See full profile

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1. Intro: I adore fashion illustration of all types I've been designing since I can remember, and I've worked for some amazing fashion brands managing, buying and styling hundreds of women. But my favorite aspect of fashion is the illustration. Hi, I'm crispy, and I've created several fashion illustration classes right here on skill share today and back in the studio, creating an all new fashion illustration course focusing on the sketch. If you struggle to produce a balanced, put together looking fashion sketch than this, classes for you, or maybe you just want to brush up. Either way, I'll show you all the tools I use and where I source my inspiration. Some basic fashion anatomy. How to add details and go right into the thinking of your final sketch. I'll even show you how I handle mistakes. You can use your sketches to make art prints, social media posts or creative portfolio. Fashion illustration. The sketch. You got this. See you in the next video to get started 2. Tools & Materials: for tools and materials I've used. I've just kept it super basic on this project. I mean, down to mechanical pencil, a good eraser that doesn't smear my work. Ah, micron pan. Or you can use any other waterproof type ink pen and a Sharpie to do larger areas. So I'm not working right microns to death and then a ruler to space out some of my anatomy sketches. So I'm not struggling to try to get them even as possible. I keep a paper towel also to wipe any eraser, just so I'm not smearing my pencil lines and then also with the paper. I've used a cancer £140 cold press paper, just in case. I want to take this to paint later on. I have good paper that will hold water, but you can use any paper you like. That's just what I like working on. So I will see you in the next video to get some sketching started 3. Inspiration: so I want to talk to you a little bit about how I get inspired. Vogue dot com is a fantastic resource that you can search. They have Ah, you know, a front kind of page of stories where you could see the latest things going on that you can click through and see some interesting pieces. Ah, here, some of streetwear from a recent runway show. There you can also search by designer at the top of the page Instagram I fallen account called Fashion Week, and they have an amazing array of very cool shots of Runway of Off the Runway, um, and kind of look book shots, So that's a fun account to follow as well. I also follow another account by an illustrator called Fashion Designer Illustrator, and he was Jade. And she's got some beautiful pieces, all done in the 10 part fashion figure, So this is a great one to check out. But there are many, many more artists and fashion blogger accounts on Instagram that you can find inspiration from, so I would suggest you can tried there. I also haven't out called Vogue Runway, and it is basically an array of runaway shows their populated from the very latest runway show all the way to the oldest runway show, so you can literally find hot off the press fashion right there at your fingertips. Umm, you can just open up one of the designers and you'll see all of the pieces from that runway collection pop up, and usually the first look is on the cover. But there's so many more inside and you can click one of them and just sort of slide through. Um, just swipe to the to the writer left to go through the entire show and see everything close up. So it's a great resource. You can also click the little search Icahn and look for a designer by name and there are thousands of them. So to minimise time on this, you can click any letter on the right hand side. You see, the entire alphabet is there are just gonna click d and you'll see it's I just shot me right to the all the DEA's. All the designers, starting with the letter D are right here, and it just helps you more quickly find what you're looking for. Um, I'm gonna go ahead and choose Diane Von Furstenberg and see what she's got going on. She's one of my favorites, and those are all the shows that all the seasons that, uh, they have quite a few, actually for each designer that you can go back and finds a market. But for now, I'm going to select her spring summer show to see what she's got going there and just scrolling through the main feet. I don't really see anything that's exciting me. So I'm gonna go back and try Fall Winter, and that's a lot more colorful and vibrant. So I like that. I think I'm gonna click in and see these close up to see which looks, There's That's pretty Yeah, there's some really cool stuff in here, so I might come back and do that, But you can see how this works. It's It's pretty, pretty awesome. The other resource, which I used mostly in this class, is good old fashioned magazines, so that always works as well. So I look forward to you find your inspo and I will see you in the next video to get going 4. Prep- 9 Part Sketch: I'm gonna go ahead and get you started with how I prepped for my sketches. So I have a starting and ending point from top to bottom where I want my sketched, and it's going to depend on the size of your paper. And then I'm going to, uh, make nine equal parts made up of 10 equally spaced lines. This will make the parts of your, ah, your fashion figure. So just to reiterate, I start with top and bottom area of my designated illustration a center point as a guide to help me measure so that I end up with nine equal parts from top to bottom. I'll see you in the next video to start sketching. 5. 9 Part Sketch: okay. Okay, guys. Night for the fun part. We're gonna dive right into the sketch with the head feeling the first section. The next section will be made up half of the neck and the other half of the top of the shoulder, and I'm just going to darken these all of these lines. He can see what I'm doing a lot better. So my neck is taking half of this area and the top of the shoulder the other. And I'm gonna swing right down with the waist area in third section, and I'm flaring out with my hips in the fourth section. The thigh is going to start at the bottom of the hip and typically come down to sections. But I like to go down 2.5 to create a long leg look. So there's a little indentation at the knee, and then you can flower out slightly with the calf coming down and the foot will fill the last section at the bottom. Generally, the foot will be a foreshortened view because the foot is kind of flat and facing us, while the body is a straight on view, so it's a little bit of a perspective trick. At that point, we'll talk more about that later. And now on the other side, just mirroring would have done on the left with the foot facing in the opposite direction. So it looks realistic now on the face. Uh, if you look closely and I'm gonna use this other model because she is facing us directly, you can see the I is right about the center of her head. Go from the top of her hair to the bottom of her chin. That I is right about at the middle, a little deceptive. It doesn't seem like it is. It seems like it's at the top third, but it's really not. So I'm gonna put that line in the center. Then I'm going to make to equal spaces one for her nose and want for her mouth at the bottom half of her face. The eyebrow can go above that, and now you're going to start seeing the look of a realistic fashion face. You can see I'm erasing and adjusting. I rarely ever get this right the first time, so don't put a lot of pressure on yourself. It just takes a lot of practice. I've been doing this for years, and I'm still not perfected. Just adjusting the area of her face, the hairline and now the ear. We'll go from the bottom of the the line on the bottom of her eye to the top of her mouth, depending on how large you want to hear to be. But that's the area where you can put it, and it will look really good now. The other eye is always the toughest. It's a little difficult to make that mirror image of the eye and the eye brown have it look similar again. It just takes practice. If you have to erase and re do do that, that is totally acceptable. Once you have a decent mirror image, your hair is kind of adjusted. You can move on, so we're going to go down and the elbow will be in line with the waste. As you can see in the image on the left and we're gonna just flip, um, taper in and flare out with the the lower part of the arm. The hand or the wrist is going to start right at the base of the hip and the hand will will hang down from there. So again, on the other side, the elbow at the waistline, the wrist ending at the hip line and then that the hand hanging down from there. We've got all our parts on the page. Now we're ready to add some details, so I will see you in the next video. 6. Prep- 10 Part Sketch: Okay, so I'm going to determine the top and the bottom of my illustration area with my ruler. And then I'm going to mark the center point. And in the quarter points from there, it's so much easier to equally measure out 10 equal areas for our illustration. You can even I've all this. As long as it's pretty close, it's gonna look really nice. Now that you have your 10 equal parts, I will see you in the next video to get started sketching. 7. 10 Part Sketch: Okay. Okay. So I have my 10 sections and I was driving right in with the the head filling the first area as before in the nine part fashion figure example. Ah, the neck and the shoulders filling the second area and the waste coming down all the way to the third bottom of the third area and tapering in the hip area filling the fourth area. And so far everything is identical to the nine part fashion figure. But the leg is where it all changes. You're gonna have a very, very a long, gated leg in the 10 part fashion figure. And so the thigh is going to start as before at the bottom of the hip and come down 2.5 sections. The other side and and then the calf, instead of running 1.5 sections, is going to taper out and fill 2.5 sections. So she just looks really super tall and elegant and again on the other side, just working to mirror what you've done on the left. So they look the same. And in the last section, once you get through with your calf will be the foot as before, and that really is the only difference between the nine and 10 part fashion figures. So as I'm teaching the following videos, you're welcome to follow along with this example. Although I love the nine part fashion figure, that's what I'll be using for the rest of the class. You can fall along with this one now that you know how to divide it equally following along with the arm. I like to go a little below the waist on this one just to make the arms Fillmore along, gated along with the legs, and you can see the wrist is below the hip area as well, just to give it more of a longer look and be more consistent with the leg. So just below the waist, the elbow hits and then a little below the hip line is where the wrist will be. If you'd like a helpful example of a 10 part fashion figure, please check out fashion designer illustrator on Instagram. She has some amazing examples and done so well. I'll see you in the next video to try out some other positions 8. Runway Walk- Sketch: So now that we've gone over the basics of diving right in with a runway walk pose, and this one's going to be pretty basic, I'm going to go ahead and start with getting my head into the first section, as we discussed previously. The neck and shoulders in the next one and the walk pose you'd think would be straight up and down, but it's not. Her body is slightly curving, and you can see the left shoulder is higher than the right shoulder, so it's causing her body to curve toward the right and you'll see the left hip is lower for that. So I'm going to go ahead and draw the torso with the left shoulder slightly higher than the right, keeping the bottom of the torso at exactly the same angle. Then I'm going to start the hip line with the left hip. As you can see the illustrations slightly going downward. This is going to create sort of a V shape. See that V shape? The's sort of geometrical references really help me stay on track and make sense of how this body is moving so continuing on finishing up the hip area, I'm going to go ahead and start with the anchor leg, which is on the right, and the anchor leg is the one that is straight going down into the ground. It carries the weight of the entire body, while the left leg is up taking a step now. Typically, the left knee would be a bit lower than the right, but because it is bending to take a step, it's ended up right about even with the right hand knee, but only because it's bending upward and it's a bit distorted. Now. The calf ends up being a foreshortened view, so we have to sort of widen it in the center and tape it on the bottom to make it look like it's going off into the distance and in the foot. We'll see in its pure form, because it's flat and facing us. So we get to draw that fun hourglass shape of the foot and with the arms again, elbows at the waist, wrists at the bottom of the hips. They're relatively straight in this position, the right one, maybe slightly lower, but very slight. So going over our angles again, torso tilting to the right, hips tilting to the left anchor leg and bent leg arms at the sides. Now let's add some detail, this girl I'll see in the next video. 9. Runway Walk- Sketching Details: So now we have our complete, sketched out, nine part fashion figure, and I'm going to begin to start adding these billowing sleeves. So this top is very puffy and billows out from her form almost like a football players sort of shape. But, ah, it's gonna be balanced out with a straight skirt. So it's kind of fun Little on stumble, and I'm just gonna go ahead and puff out away from the arm and make sure that the sleeves look very billowy, very circular and billowy, right at the waist. You can see it's coming in, and then I'm going to start sketching this straight skirt. But first I want to just kind of position the hands. They're just sort of hanging loosely curved hands are probably my most difficult, so I really have to work at them. Um, it's very difficult with all the finger positions to make them look so realistic, but we'll get to that later. Right now you can see the hip is curving to the right, and this straight scored is made of a very stiff fabric that is completely being thrown to the right of this figure. So just repositioning this waste And as you go, you can feel free to erase your under lined, um, the guides that you have drawn for your fashion figure and start to see the clothing emerge from the sketch and just drawing in these really bold and cool stripes, you can see they're not straight across her body. Ah, the kind of ebb and flow and wrapped around her shoulders, a wrap around her arm. And then they're sort of coming in and out on her torso area here, so they're not straight across. And if you kind of give him a little bit of a natural, not straight look, they look so much more realistic. It's getting all these stripes in position. This lower one is a little whiter than the one above it to show the arm kind of widening at that point, and then the waist area and the skirt. So now it's coming along and completely staying with the left side leg and then sort of flaring out from the right. As this fabric is being forced by her hip. It's following her hip line exactly, and it's coming right to the very top of her knee. You can use your image to stay on track by following these little guidelines. Now I'm going to stop and do the face A lot of times. The mood of the face helps set the tone for the whole illustration, so I'll stop and do that sometimes halfway in between. So I'm just adding her I in her eyebrow here in the center of the head area than the nose I usually just due to nostril holes because the nose is again very difficult. And then a little bit more detailed mouth the shape of her face, her ear between the bottom of the eye in the top of the mouth area, and then her hairline, which has gotten a little bit to the top of the page. But that's okay. Live and learn have to start lower next time. All right, keeping this going, adding the left, I mean these cuff areas, the cuffs are really chunky and thick and just adding a curved line for her hand. So the things I'm good at, I tend to accentuate and the things I'm not so good at, I tend to ah, go a little lighter on and then just keep practicing as I go until I get really good at them, adding her metal belt. And there's this line, the shadow that's being created as her left leg is forced forward and the skirt ripples around her. Right now, let's head to the next video where we're gonna ink sketch. 10. Runway Walk Inking: So now it's going to be all about the inking. So with sketches completely finished and now I'm diving in with my micron. Uh, typically, it's really about just covering over the lines you've made with your pencil. But this is such a great opportunity for some edits. Ah, so I would look at my reference photo very carefully during this entire process and see if there's anything else I'd like to improve on or add or take away. Uh, this is the time to do it because the micron will be permanent and it will be my set up in case I want to add some paint afterwards. So in thinking of that Ah, it's good to be very thoughtful during this process of the inking, Uh, and just take one step at a time, kind of. Consider your reference photo. You can see I used some hatch marks for the shading on the top, and I'll do that again in this skirt, but in a very interesting way, you'll see as I go forward, so sketching my ever challenging hands and this is going to be the final. So I want to make sure they look nice and fluid and natural and not just hanging there like hooks Got through that. Okay. And I've spent this up so that you don't have to be tortured with all the all of the, uh, hemming and hawing I do in between. Sometimes I stop in, and this is a good thing for you to do is to stop and step back and take a look just to be sure you're on track. With what? How you want your illustration to look. Um, and then I'm also using my micron to fill in some details. I'll be filling in the shoe and filling in the above detail on the top, so I'll be showing you how I handle those types of details. Since the shoot ISS small. Filling it in with the Micron is no problem, but the top has a little larger areas that I'll be using. I use a Sharpie in those cases because they blended nicely with the micron, and there's so much faster and easier to fill in. Just having some fun with this beautifully sculptured and find detailed shoe got a really beautiful crisscross leather upper, so you'll see each foot is going in a different direction as we talked about before. So just making sure that the detail, um, mirrors the direction of each foot that it looks realistic and adding some shading to the Legace. Well, finishing the detail on my facial expressions and again editing just slightly perfect. Now I want to erase all my pencil lines. Just be sure that all of your micron is dry. Otherwise you will get some smearing going on. It doesn't take long, but just to be sure, I blow on it a little bit. Just before I I started racing, and now you can see I've I'm diving in with the Sharpie and this is gonna be a very quick process because the Sharpie is is is much, much bigger than even my thickest micron pen. And I'm also gonna be filling in this skirt so just a little bit section at a time and I don't want to lose the directional lines right here, So I'm going to be outlining them and leaving white in the center and filling in all around them. So it'll be a bit of a negative space sort of an effect. And that is a great way to show a little detail on movement. Even when you have a black garment that you're representing, I could have even Dunmore, but I wanted to keep this one very simple in the on the in the image. The skirt is just very simple. System blocked out black sort of a piece. So I wanted to keep it very, very light as far as the lion edge. And you can see the white lines left in this skirt, showing the movement of the leg, just finishing up her hair. I have also edited the shape of her Hera's well. I wanted to kind of being a little bit down around the ear, and that concludes this project. I'll see in the next video to start a new one. 11. Fashion Sketch Clutch Sketch: I'm going to be sketching this dark, mysterious girl on the right, But just a side note. Ah, from my class in fashion prints in three D. This Stella McCartney look in the center of the page is one that I did in that class. So you might recognize that girl right there. Small world of fashion. So I'm just creating my nine part sections and looking at my illustration. Ah, the head area is going to be elongated quite a bit because of this enormous hat. So I'm gonna remake my lines based on the fact that this hat is going to extend past the normal area. I don't want to run out of space like I did in my last illustration. So just lowering all my lines and making them a tiny bit smaller to allow for that, Um, and starting in with the head in the first section, this is something you're gonna want to do is just kind of look at your the whole picture of what you're sketching and make sure it's gonna fit properly on your page. Make sure it's it's positioned where you want it before you get too involved and make the sketch really great. And then find out you want to move it. That's really kind of heartbreaking. So starting it with a little bit of the face right off the bat, I'm gonna have to know exactly where that shadow is gonna hit her face. So that's why I started that. And this time, the shoulders are tilting in the opposite direction from the last sketch. So they're tilting down on the right hand side and the hip is going to be going up on the left and you can see the lines geographically creating that V and ah, the right leg coming downward and creating this curve between the torso and the hip area. Now the left leg is going to be our anchor leg. In this illustration. As she is walking, you can see the weight is distributed right down into that left leg, and it is kind of holding everything together right down into the floor. So I'm gonna go ahead and draw that straight and tall left leg. The head should be in line with that foot and the right leg is going to be the one that's going to be lower as it's bending and her right foot is going to be behind her as she's ready to swing it around to take her next step. So the right knee will be slightly lower. The calf will be slightly distorted and the right foot will be hidden behind. I'm sorry. Yes, The rightful will be hidden behind her left leg. The arms This arm will be bent up holding her clutch bag. So a slight curve there and the right arm is straight beside her body. I'll see you in the next video to start the clothe. 12. Runway Walk w clutch Sketching Details: so I'm going to start right in on this illustration. With this super dramatic hat, it's sort of setting the mood for the entire illustration. So I'm starting with that so I can sort of follow the mood almost like a little mini mood board upon the top of her head. Um, I want to get this size and the angle just right. It's a really pretty straight forward, straight on view of it. So it's really simple. And then next is this very deep shadow. It's casting on her face. Um, so on this one, drawing the face will be super simple, cause it's basically part of her nose and her mouth, and that's it. Her eyes were hidden, her hair is hidden. So I think that adds to the drama. To it is this mysteriousness that she's portraying and you can see the Shadow is casting sort of a semi circle shape. Even though the hat is straight, her face isn't so it the shadow sort of wraps around her face, and I'm diving right in with this super chunky trench trench coat that is coming all the way up to her neck all the way up to her chin, Really? And she's got the super skinny form. But everything about this look is chunky. That hat is voluminous. Um, the Rusche ing on the coat is adding so much volume on her on her jacket and rushing is the bunched up fabric that you can see around her shoulders and coming down the arms. That's what they call rushing in the fashion industry. Um, this first stole is super chunky, and even her clutch bag has volume to it. So this is a very bold look, especially with the dark colors, like a dark navy and all right now I'm just lining up where everything is going. The shape of the, uh the the way her stole is hanging. Um, this belt is another super important part of this look, because it is taking part in bunching up this fabric at her waist and, um, defining her own shape in the middle of all that. I mean, when you look at this voluminous look, you could still see a super tiny waist in the center of it, because the belt is pulling all of that inward. So as I'm sketching these looks, I'm looking for elements that really tell the story and make sure that I am putting enough emphasis on those elements. So now I'm determining the length of this coat. So I know how long to make the wrinkles and the folds and all of that, and you can see how her jacket is sort of wrapping around this front leg that has, uh, taken most of the attention here in the front of her look and then the back leg on the right side, the jacket wraps around behind her, where the leg is also wrapping around behind her. So again, this shows how the anatomy of the body, um literally shapes thes fashion looks as you're sketching them, and I need to remove the under the skeleton drawing, if you will, so I can kind of keep going on this jacket. We have enough detail now from her movements that we can continue without the under drawing . So sketching out these very chunky gloves that she's wearing So this coat sleeve is just stuffed into these John enormous gloves that she's wearing. She has this really super secret agent look, and all of these elements sort of lend to that. Just capturing this Ruesch ing in the jacket. Now you can see how all these folds and gathers create interest and create lightened darks . Super interesting to look at and really very simple to sketch. You're just really sketching a lot of lines. You just want to make sure they're all going in the right direction. So on the right side of her jacket, there, sort of going straight down the top and then gently curving in at the waist in the same on the left hand side, just in the opposite direction you can, keeping my eye on my image a lot. I am just lining up where the coat falls behind her right hand and on the bottom, where it curves around her front leg and wraps around the back. Just keep your eye on your image a lot, and you'll just be so much more accurate. And then her lovely shoe. So in the middle of all this masculine secret agent look, she's got this really feminine bo shoe with the newspaper print on it, almost like she's gonna be in tomorrow's news. So there's so much story in this. Look, I've got plenty of detail now, so I'll see you in the next video to start thinking 13. Runway Walk with Clutch- Inking: So once again, I'm going to dive right into the hat, which sets the mood for this entire illustration, and I want to get that bold, dark, dramatic look down right away to set the mood for the rest of the inking. So I'm going very carefully across the room of this hat to get the shape just right, and it's kind of there's a There's a front part of the brim and a back part of the broom that hides behind her head. And you want to be very careful to capture those lines correctly. And the shape of her face is going to be super important. She has this scarf wrapped around. Not only that, not only does she have a hat, but she's got this scarf hiding her hair and her ears, so there's very little of her skin showing in this look at all. Um, she's just very, very undercover, so to speak. Um, now it's very easy to just capture the mouth and the two dots for the nose, and I can move right on to her collar. So this is a time to just kind of carefully consider where I'm putting my pen. There is this tilt of the shoulder coming up on the right and downward on the left? So I want to be super careful how I capture that. So her body looks right in this in this illustration, just capturing this seems at the top of her shoulder that we're all the rushing is going to come out of another very bold element. And I'm just capturing the top part of the rushing first because it's just darker and thicker and chunkier than the bottom part of it. All the lines that I'm going to be drawing he after going to come right out of those initial initial details at the top, Conseco just pull right down into the all the way to her waist and now capturing some of those deep, dark shadows in her sleeve in her waist and down into this glove. So the right hand side of her body just has a lot more shadow cast on it because of the light source coming in on the left and now the the first stole. So I'm drawing and chosen to instead of, ah, big thick line coming straight down, have chosen to draw multiple little tiny hair like lines just to show that this is a for and you can tell the story quite well, uh, and kind of illustrate different textures just from how you work your lines, capturing the shadow in the clutch bag and continue on with the for sort of wrapped around the clutch bag all the way down. It seems like a lot of work, but in the end, it's so worth it cause you really capture the essence of this of the vibe of this piece. If you kind of capture the contrast of textures, her jacket is a super slick patent leather look and then that for has so much more substance to it. It's kind of a fun play on textures. And now the the folds in her belt. He's giant bull like, uh, straps kind of hang down her her pockets, the pockets even add mystery to this look. I mean, you're thinking I'm thinking looking at this girl. Did she have ah revolver in there? Does she have some secret manuscript? She's just heisted. I mean, it's really a fun, a fun story to tell now the folds in this coat are I mean, I think they're probably the most dramatic of all. Besides that hat, they're just very deep and dark as they wrap around her right side. So I want to be really careful to capture a lot of those darks coming around the leg. And you could see how in wrapping these folds right around her leg, just a zit appears in the image. If you just follow your image again, you're gonna do so much better. Every so often, I just sit back. I pull my pan away from the work and I look and see. OK, what's missing? What can I add? Ah, where do we need to go next? So I would encourage you after you're done with each element just to sit back and just sort of study where you need to go next. And just the fact that this jacket is coming literally. The hem of this jacket is going up on the right side shows the perspective is moving back. So we're using a lot of basic drawing elements here shading perspective form. And, uh, it's really adding to the drama of the look. And now this ever feminine shoe in the middle of all this chunky masculinity another wonderful contrast. And now I can start coming back and really going at it at the is shading in a big way. So that's another thing I do. I take one pass and I catch the basics. And then I come back and really hit hard with more and more detail. And even though that hat is black, I'm gonna choose to leave it mostly white because then it really outlines a shadow on her face. So all I have left to do now is erased all my unwanted pencil lines. And I have a finished illustration. Thank you so much for joining me on this one. And I can't wait to start the next one with you. I'll see you in the next video. 14. Uneven Pose Sketch: So now I'm taking on this very unusual stance. It's like a uneven to standing on a part of a curb while her of right leg is standing on the street, her left leg up on the curves of her legs bent. And then she's twisting her body, her hands in her pockets and her head is bent. So just about everything about this pose is unusual. So I'm going to start with the tilted head, tilting to the right and then creating my V so I can get the very severe slant on her shoulder going from right down to the left. I'm just gonna make my torso shape here and keep the same angle as the shoulders on the bottom of the torso and now her hip ST just a little bit. And now the ankle of the hip is going slightly downward, so it's going to create this s curve throughout her body. And again, I'm gonna make thes angles just to help you see a little bit better. How this movement and it's it's a very odd and crazy shape, but when you start putting your your your parts together, you'll see it all makes sense. it's all has to be connected all house to flow from one part to the other. So the right hip is down supporting the right leg, standing in the street than the neediest, slightly bent just slightly. And then the foot is going to be slightly bent at the ball of her. Her foot. So her heel is up off the ground and you can see the knee here just slightly bent. And now we're going to go to the left leg and you can see there's a big crease where hurt her leg is bent. Decrease in her pants there. Ah, where her legs bend at the hips and her knee is slightly higher because it is that foot is up on the curb. We're gonna just go ahead. Just gonna go ahead and show the height difference on on her her left foot compared to the right and now with the shoulder, this the both of these arms are bent with hands in the pockets, our thumbs in the pockets and ah, this shoulder is quite a bit elevated. Her forearm is gonna look a bit for shortened if it is bending. And this arm is almost completely hidden, but I'm going to draw it anyway just where it's supposed to be. So I can properly show the drape of the jacket and the curve of the hand that is resting on top of her pocket. This side is very foreshortened as the hand curves around, so it's important to do all of these under drawings before you start your apparel. Just so everything looks like it makes sense. And I would say that is the biggest secret to this. If you do not start with your basic under drawing, you're not going to get a very realistic looking finished drawing because you will not have done all of your placement correctly. 15. Uneven Pose- Sketching Details: I'm diving right in with her hair line or hair is very short. So the big detail here as her sunglasses there are wraparound, very sporty, very angular sunglass. So it's very fun one to, to sketch and very easy. This one will eliminate heavy to draw the eyes, which are probably the most difficult thing at least for me. So little. D tilde the nose and then a very round mouth. So our expression is very relaxed, but she's very confident. She's feeling very cool and very confident of herself in this image. It's a very, very cool expression on her face and then her jaw so hurt. Her head is slightly facing in towards the left slightly so there's a deep shadow on the right-hand side. And her hair is more visible on the right than on the left. And in her neck is very sort of bent to flow right into the shoulder movement in a very compressed on the right-hand side and down the jacket goes along with the shoulder angle. So just capturing this jacket is very loose in hanging on the, on the left and a very compressed on the right where it's kind of stuffed behind her arm. And her top is very simple, but there's some nice wrinkles in it to show the movement of the body. Now the right-hand side of the color. And then the sleep on the right-hand side is literally just hanging. This jacket is just over her shoulder. So you can see how the sleeves hanging over her arm loosely. And you can see the stiffness of her leather jacket is sort of making it stick out just straight toward the right as it's kind of being pushed out by her her right arm. And I'm just drawing the compressed leather coming out from under her arm. And then this top that's just sort of hanging over her waist. And again, I prefer to draw a shape of the hand and the direction it's going. Then try to get all the fingers in there. Initially. That's just a very tough nut for me. So that's where I struggle. But it does tell the story and that's the main thing. You don't have to show every detail of every fashion illustration of every part of the body. You can just capture the movement. And it more than tells the story. Just getting into some of the detail. The wrinkles where the leg is bent and the cough in the pant. So these will be important when I do the inking to have these in the right place. And I kinda have to imagine beyond that knee point where her leg is partly hiding behind the other model, I have to imagine how it's going to go. And sometimes I do this, I just project. I all use sometimes another image to help me complete that. Look, if I don't have any idea, sort of like I did in the first practice images. I used the face of one model and then the body of the other because they're both facing in the right direction. In this way, you can kind of either imagine or use another image to kinda help you complete that left leg. And the way the knees bent in the way that the foot is sitting flat on the curb. For me, I'm just going to take the right shoe and just copy the way that looks on the left side. And you can see the body is slightly facing toward the left. And that's been part of the interesting thing about this pose is it's just very, very odd, unusual. Crooked curvy. It's got a little bit of everything. And again, just so important to stand back and take a look at your drawing before you kind of keep going, makes sure you don't need to add or take anything away. I'm adding a curb so it makes sense of how she's standing. And I've about completed my detail sketch. So I look forward to see you in the next video for the inking. See you there. 16. Uneven Pose Inking: So I am grabbing the micron and getting right to work on the inking for this sketch. Ah, and go ahead. Going is starting right for the head and framing her face shape and her hairline so I can go ahead and fill in her features. That's going to set the mood for the entire sketch. Very chilled out. Very cool, very relaxed, but feeling very confident. And in the original image, her face is upturned slightly. So I'm gonna just raise the I were just slightly and she is rocking this shield, this sunglass shield that is going to cover a good part of her face. And I like the way I did most of these original details. So I'm just going to go ahead and just quickly go over those getting these earrings And there this really dramatically large hoop earrings are a great detail and then filling your hair and a little bit better than the original sketch getting the angle of that a little bit more correctly. So again, correcting as I go with the thinking to spring it up another level, just carefully keeping my eye on that image, though I mean, that's what really does. It is keeping your eye on you. If I say this over and over, I cannot stress enough the importance of keeping your eye on the image as you are sketching . Even if you've done the the under sketch, you've done the detailed sketch. I would just I love to keep improving every time I do it. I think that's a great way to increase your practice skills to. I'm practicing every time I make an illustration, I'm improving every time I try a new pose. I think that's been, um, a big deal for me as faras my growth as an artist is just keep improving every time. Just this, pleasing that jacket down behind her arm, showing the loosely loosely Lee um sleeve of the jacket and then her arm. So now I'm going to just loosely sketch some fingers in there very lightly on this side, showing the separation between her index finger and the rest of her fingers air kind of spread out over her hip and then the jacket laying right over the rest of her arm. So again you can see how the original sketch helped us to kind of drape that jacket right over the arm that is hidden. But we know where it is. Just adding some button detail now, which I didn't didn't do before. And a lot of the wrinkles and shading that is so dramatic on this. This sketch. There's a lot of light and dark on this one, and they can see how the bottom of the jacket is sort of rippling around as it's being pressed down and the wrinkles in her shirt. And as I said before, there are only a few. But they're very telling of how her the position of her body is twisting and sort of facing the left hand side and now going right and down into the pant with the wrinkles in her crotch, where her her legs airbending at the hip So the lines on the right hand side go down as her leg a straighter and the left leg being bent up more. The wrinkles are going more upward at the crotch there, and because it's pat is leather. It's a lot stiffer than maybe jeans or other fabrics, so I'm not gonna show quite as many wrinkles. I want to show a little more stiffness, and that's where the seem a lot of leather pants have a scene right at the thigh, where the fabric starts getting a bit smaller as it tapers down into the leg, showing that wrinkles there in the cough. And how it's these lines going up on the right hand side of her right leg down, really up the middle show again. How the body is sort of twisting. I'm just really going over my pencil sketch, but improving where I can, getting all those little fun details of the shoe and then just assessing and going back over things a 2nd 3rd 4th time, if needed to catch all the fun details that I want to make sure in there and in the curb, I have sped this up for you so you can kind of see, um, everything that's done without being tortured, of how I was quite slow on this one. So just enough why you don't have to rush this. You want to feel like you have to go fast. I surely did not and getting rid of all my pencil lines, and also I can clearly see sometimes when you get rid of those lines, you'll see lines that you might have missed with your ink pen. So this is a great little tests To be sure. You've gotten everything in there that you want. Just make sure it's dry. So that, uh, yeah, I want a little more detail to the hand area. I want to add this necklace. Now that I think about it, I didn't put that in before. A little more emphasis on the hearings kind of adds to her attitude and then darkening these sun shades. So that is about it for this one. I hope you really enjoyed it as much as I did. And I look forward to see you in the next video. 17. Outro: I so enjoyed having you along in my studio today. Thanks so much for joining me, and I hope you enjoyed it as much as I did. Now it's your turn. I hope you're inspired to get your tools and materials out. Find an inspiring image. Start with a nine or 10 parts sketch, add details and finish with some ink to end up with a work to post on social media, make art prints or a blow to your portfolio. I cannot wait to see your work. You can upload it to the Project page under the class videos and follow the prompts. You have any questions at all? You can reach out to me in the community section, and I really hope that you'll share your opinion of the class with me in the class review so I can improve future classes. I invite you to follow me so you see when those future classes go live and I hope you'll check out my other fashion illustration. Courses live here on skill share. Thanks again for joining me in fashion illustration. The sketch. And remember, you got this