Marker Sketching and Rendering Basics - How To Sketch a Jacket or any soft goods! | Michael Clark | Skillshare

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Marker Sketching and Rendering Basics - How To Sketch a Jacket or any soft goods!

teacher avatar Michael Clark, Industrial Designer and 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

12 Lessons (58m)
    • 1. Class Intro

    • 2. 1 Marker Sketching Rendering Materials used

    • 3. 02 materials part 2

    • 4. 03 How to layout your sketch

    • 5. 04 First black line weight

    • 6. 05 Gray marker layer

    • 7. 06 Adding shadows in grayscale with marker

    • 8. 07 Colored marker layer

    • 9. 08 Laying down the heaviest black line weight

    • 10. 09 Gray highlights

    • 11. 10 Blue highlights

    • 12. Outro

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About This Class


This class specifically covers how to sketch a page of two jackets with markers and pens. The techniques in this video apply to learning how to sketch any type of soft goods (apparel, shoes, bags, etc..)

The techniques taught cover:

- Materials used

- How to first layout a page of sketches  

- How to apply the first line weights

- How to render the designs with grayscale and colored markers

- How to add finishing second and third line weights to make the sketch stand out

- How to finish the rendering by adding shadows and highlights 

I hope you enjoy the process I teach on how to start sketching soft goods!!!

Meet Your Teacher

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Michael Clark

Industrial Designer and Illustrator


Hey creatives! I’m Michael Clark and I am an industrial designer, illustrator and in the clouds creative. I live and work full-time at the foot of the mountains in Salt Lake City, Utah. For the past ten years I have been tinkering with art and design and have slowly developed my own style and approach to the design process. I have been putting design content on Instagram for about a year and throughout the last few months I have received a good amount of messages asking how I sketch things like apparel, footwear and bags. There are creatives out there interested in learning about how I approach design sketching. I didn’t realize how many people are eager to learn new techniques!


I have been surveying various creatives and students of design and what a lo... See full profile

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1. Class Intro: PE class. I'm Michael Clarke. I'm an industrial designer and apparel designer, and today's class is very simple. It's how to build a base of sketching skill. The first thing to understand is that it takes practice and a lot of time and patients. There's a book I read while I was in design school called Master, written by Robert Green, and in that book he talks about it takes 10 to 20,000 hours to truly master a craft. Now I don't know where I'm at along that path. 10 to $20,000. I've definitely put in a couple $1000 I'm still learning. But I've been been able to see my progression over the years as I've sketched a lot. So what I want you to focus on in this class is first finding something you like Sketching the way I've been able to excel and learn how to get better at sketching is drawing the things that I'm very interested in, which is what I do for a career now, which is designed bags in apparel. So that's what I'm going to be covering in this course and let's get started 2. 1 Marker Sketching Rendering Materials used : the materials I'm going to be using in this class are starting from the smallest to biggest online weight. Meaning, um, thin line way. So for the black pens, I use Muji Muji, and that's a 0.38 And that lays down a light line way, as you see here and then a Muji 0.5. That's just a little thicker. See that? And then a paper made flair pen a little bit thicker, and my thickest black line way is Ah, just fine point Sharpie, then for accents. I like to use a soft black color pencil. I got this that you tracked one of these online ago store. If you have one in your town, um, Prisma color white colored pencil. He's just like the soft core principles you can do. Nice shading, and it gives them organic looks, but for doing soft goods. Then with white, you can kind of go over black and give it some highlights, so it's kind of cool, but it's hard to tell unless you have some dark ink down with the white, and then you could make do some color pops. So that's what I use for black and white 3. 02 materials part 2: So for actual markers I'm going to use I have a kopek set of markers and to give you an idea of, um, this is a co pick set of neutral grace number zero through 10 and then special Black. I filled this house. You don't watch me color this, but I showed you kind of this different values they give you and the reason I like you. I like the neutral graze. It doesn't have cool tones and doesn't have warm tones, and it's just straight gray. And I like that because then you can. You can take pictures of it on camera, your phone or something and then edit it and you can give it warm through. Cool it down, but it's nice having a neutral color, so that's we'll be using in this set. And then we're also going to be using a prisma color just one color, and it's indigo blue, and that looks like nice deep blue going to see what that looks like. So do we. I'll be doing a sketch in grayscale and then the same thing, colored in one color blue with some penn and colored pencil accents. So let's do this 4. 03 How to layout your sketch : I'm going to be sketching a jacket in two colors on the same page. One of the jackets is going to be colored with the co pick neutral gray set and the other jacket, which is the same jacket. It's just gonna be different color. It's gonna be colored with indigo blue, all one color, and to give it death. I'm going to use not only the pen and ink, but I'm going to use these to a black color pencil in white colored pencil to give a depth so two ways you can do it, one with a grayscale markers that are cheap way using colored pencils and one color marker . So the first thing I'm gonna dio is use this and one because it lays down a nice line. It doesn't matter. I can just laid on the line. I don't have to worry. I'm gonna first just lay out my page and make sure that I am filling the space and there's a nice balance. You don't want to have everything tucked over to one side. It's easy to get caught up and sketching, and then you realize you've wasted this whole other part of the paper So I want this thing to feel evenly balanced in the whole page. So first I have, um Oh, and what I have in front of me on my computer you can't see on my desk. But there's a a few pictures up on my computer of some jackets, and I'm using those as reference so that I could get the perspective rights. That's a tip I give to everyone, especially in soft goods, is get stuff that exists because it gives you an idea of what the perspective is and what the proportion should be, but also gives you a better understanding of how the fabric looks. And when you sketch it, you really just want to mimic that. And then you can add your own features as you go. So it's not copping. You really are just using the perspective and an image, um, to draw, and then you can redesign it in your own way. So what I'm gonna do first is kind of cut the sketch in half, kind of see like I just do like a just eyeball a middle point. So I have the side and this side, so I'm gonna try to make sure my jacket fits First jacket sketch right here. So we like to do I like to start with some type of, you know, some type of the lips to show where the head's gonna be. And if then I will do the shoulders roughly shoulders. This the middle zipper kind of gives you a good CenterPoint, the middle zipper. What I'm drawing is just like a rain jacket shell, an athletic jacket, cutting out the torso, shoulders, the neck, shoulders and the torso. Then I'll have the sleeves still a little off, okay, to do a lot of passes with the marker. That's the nice thing about it. It's so light that once you lay down black lines over, you won't even notice it. I'm not doing a straight on shot. I sometimes do that a lot, but this time I'm doing the jacket a little more of a perspective. I'm using some different images to make sure I get that right. Founder here that this part on the shoulder chest area was off fixing that. It's getting a little heavy right here, but that's okay with when I go over with the pan, I can get it right again hoods a little off some kind of gonna fix that hood area. See, I'm just taking a lot of rough passes. It's a really loose sketch. Doesn't need to be that great. It's easy to feel like you've already ruined the sketch early on, but it's coming together fine. The arm here fabric folds. It's kind of like that where the fabric folds the elbow come sound right here, and the rest seems toe and right where the and bottom of the jacket is and notice. There's no point. I see. Sometimes people draw and they do a point. There's no points first with soft goods. When you do the lips is make sure that they're always round no points because that makes it look worsened. Doesn't look as realistic, and people won't realise that's what's doing it. But those think it's not as good of a sketch. So so if you're, you know, showing your company year a client, so that's a good silhouette for first jacket, then a few last details I want to get. But that's a good silhouette for this first jacket that looks a little big that is going to go through and a few less things that don't look quite right. Yet Game and I can also use this light marker to start designing what my jackets can have as faras features. So it's probably going to be a seam on the side, Um, pocket right here, pocket under the side. Can't see it because it's turned at an angle. Notice this shoulders a little bit lower than this one, because the perspective it is a chest pocket chess park it. And then let's say there's a cut right here because it's a This is a She will move it up over, say, there's a covering here because this pocket extends in this whole chest space. So I'm gonna do a seam here in here. And I was going to be an elastic band. So bottom and draw another line right there, and that looks good for now. I'm gonna go to the other side and do the same exact sketch I just did. So this is where it's hard because you have to kind of make it, and we easy to tell side by side if they're not same. So it's again get the neck area right, um, torso, Roughly when it kind of do that. The zipper in the chest annoying. Doing it second time. But sorry, I'm just impatient. Good to slow down and do it again and just get better every time you do it. So it's okay. Good. Okay. And then shoulder drops right here again. So want to match this angle? That chest. I don't like this. Make sure I can kind of do a liner here if I want to make sure the bottoms line up. Looks like they're starting to line up about the same this arm. Something like best. I'll just do a light line dish. Make sure I'm in the same positioning. Get this the same by ghosting with these light lines. It it's really good practice. And you also what I noticed in my hand gets loosened up cause I'm just moving really fast, and I've noticed I'm tryingto move more with my shoulder. Not so much my wrist, but when you have to get kind of do some little details, these may rest. You'll notice I kind of a mix of both. Industrial design. Sketching is very heavy emphasis on nice straight lines using your shoulder, but with soft goods. It's a lot more organic curves and things. And so it's OK to stop and kind of get some details with your hand. No. This that this left arm looks fine. Um, this little difference. It was the bottom part. Maybe this sleeve needs to come down a little more. Cuff came down a little more to match this one and then finish right there. Looks about the same. This arm. Make sure dis matches this other side with same jacket twice. We're into the gray scale on this one, and this will be the color jacket. I noticed that. This is cuffs, actually a little bit turned in. It's a little more like that would be opened. Kind of facing, because if someone was wearing it would probably sitting like that on the jackets coming over. This doesn't look quite right. A few more lines, okay? She was chess piece. Looks right. Looks about right. Give it a little more detail on this neck piece on the hood. Open up that lips a little bit more. Was it kind of right here? This one comes about here side by side. Make sure these two are I think similar should show that his shoulders a little too high with the pan. It's okay if I did that line up here. Let's divide with the panic and go over and get a little lower with that. Okay, that's pretty good silhouette for both. Um, now I'm going also going to match this pocket cut right here. Okay. And this this Parker using this centre line I did to match up, make sure that's pockets in the same spot, and I've done this a ton of times, and so it looks like it's not super hard. It's beach because I'm just used to it. I'm patient. It's definitely tedious, but notice right here. It's tedious, but more you do it, the better it gets to just stay. Patients fix that sleeve. So fix this leaves that matches that one outside, and it looks good. So this is just like a rough, muddy outline, and then once I go with pen, it's going to look a lot better. Something else I like to do is a little drop shadow over both of them lips. Is this cool? Let's practice just before you doing the lips. Just practice going over it without touching down and then you're left. This gives the sketch cool kind of more industrial design. Look where jackets floating gives it a three dimensional feel on the page with these two jackets or floating. So Andi kind of pops it off the page and just makes more visually interesting. And as a designer, things like that make you look a lot better and they make you look like a lot more. You know what you're doing and you offer more of a magic. So I think that's cool that Adam little features like that. All right, let's put the black outline on it. 5. 04 First black line weight: Okay, so now I'm going to start laying down black outlines. The way I like to work is the thinnest line first. And I work out. I worked my way out. Um, basically in line weights. You want to think of line weights and threes? You wanna have your first line way, which is your lettuce second line way we just kind of in the middle. And then your third line weight, which is the heaviest, which is usually something like a Sharpie on the very outside of the sketch. So what I'll do is I'll do the whole sketch in just a 0.38 Muji and then do line weights and color in between. So first things first is starting to lay down the rough outlines. So I'm gonna just start going over this. It's okay if you screw up on this, too, because you can go over it with a Sharpie and clean those lines up to, um, here. I'm using a few different jacket sketches in front of me to kind of make up his fabric folds as I go to kind of just you don't think of as well, like where naturally you think fold would be on a jackets, usually at the cuff, where the fabric Bunches like fabric. Right fools right there And then there's definitely going to be increase at the armpit. You could even look at your own clothes you're wearing. See how they fold, Please. Here, If you going on right here. Um, then there's seem right here. There's the hood, this jacket here and then So it comes in here. But, uh, okay, And then there's this other shoulder. Some like that looks right. This angle, one of the cuff, a little more because it's turned this way. Kind of. This is the closer side to you, that angle and the arms turned towards you. That's why there's an opening on the wrist here. Then there's that. Seem where the chest is and also make sure you have points right here. I've seen sometimes students sent me some sketches, and there's points all over. It looked like it was trying to make the sketch like three dimensional having and having points, um, makes it look not real. So make sure all your veg is air around it. That looks a lot more organic. Okay. And then zipper down there s no such a little bit of you are here Because there the chest, then his pocket here, garage on the pocket, garages where zipper parks and I want to do Well, super coming out of that, it's kind of a playing under here. Um, do a cross hatch to kind of show that it's a zipper. It also would give it Make it darker is when I go over with color that crosshatch will make that look darker right here. I'm gonna have there's that seem coordinator here. Also, I'm going to This is tricky to do, but I'm gonna dio I'm gonna make this zipper. It's really hard to draw really close to another line without going over it Made it. Sometimes I don't like to do that to make to show that there is a zipper there. If you throw us into Adobe Illustrator and make a tech back out of it, you would have to show the whole zipper so drop pretty accurately up here. I'm gonna just a little super polar okay in here, I'm just getting so here's the line of the jackets. Wherever there, that jacket line is Well, there's some kind of fake folds in here, and then I'll have kind of like a That's where the hood starts inside the jacket, and I'll do a little crosshatch to show that's like, inside that's inner layer. Some depth there, the hood and elastic binding folds down here. Okay. And then forgot about that pocket. This chest pocket, this is kind of well, cool design. Here's if you reached in here, you'd have this whole pocket. And then here's a side pocket you could reach into. It's not going to use that premise can open. Do kind of do like a dotted line to show kind of a stitch or something. Um, and then right here, here's the pocket as well. Okay, um, what also do is I'll look at some different pictures, like I was saying and find the major. I won't put every little fold on this, cause that just takes too much time. This is just a sketch. And so obviously not real. So don't be totally accurate, but look at, um, real pictures and find where the fabrics folding and find the You can squint your eyes looking at an image and you'll see the major folds because when you squint your eyes, that shows you kind of the darkest areas of an image. And so I'm seeing. Looking at a few different jackets is theirs. There's creases on the elbows, arm ones, a few more Here on the chest, there's a few creases kind of taper down across the torso. There's a few big folds you hear so much of like many, many little folds increases for here. That's a few, But on this this arm there's a bunch. When you draw folds, it just kind of brings the sketch toe life too tedious. But it's worth it. If you're doing trying to make a schedule it cooler, they communicate what you're tryingto it looks a lot more exciting than just a flat pen sketch that looks like it took you a second. To do this gives it a little more character. You don't need to do this, but I think it does make a sketch look a lot cooler stress if you're showing some ideation leading up to the actual final product or even on a I sketch dove illustrator. So I also have a binding. If we do a binding on the bottom edge here, okay, so that looks good. For now, we're gonna add color to this, but first we're gonna do this. This other jacket. So it's the same exact process to do this other one. 6. 05 Gray marker layer: So this jacket I'm going to use my kopek set, um, to color in, and I'm gonna do all my shadows with different colors of the neutral gray. So figure out what based color I'm going to use. I use this kind of color chart already laid down the base color I'm gonna lay down is and four and I'm gonna use these darker shades to add in shadows. So I would like to start with is the you know something right here. There's the fine tip on the broad tip I'm used the broad tip and what I like to do is just go around the perimeter of the sketch, her murder, the sketch. And then I start to feel that and I do a couple passes. This is really good paper, so it'll blend the marker. You don't have to 20 c d about making it blend perfectly because, um, I'll be adding other marker lines over it, so it looks fine. I'm gonna go over the body of the sketch and do that. I kind of color and pattern blocks. Have you thought about like, a jacket pattern? You'd have the materials. This would be one panel cover that in first, do the perimeter and then do vertical or horizontal lines to fill it in. And then we're gonna do a few more passes to get that market a blend. And this is thick paper. Have is crescent render paper. So it's meant for wet media meaning markers. And so the market is really well, and it also doesn't even believe through the paper you consider here. It's not bleeding through, So this is an awesome paper to use. There's a sexually they looks a little dry, so do it a couple times. Don't worry about that down here. That spillover, I'm I'll go over with the black and it'll disappear. But I can't be a little more careful in this side with the tip of that marker and make sure you don't go outside. My lines can do in a vertical and there color down shoulder. Okay, Hood for easy small space, lot black lines in it. Going officers need to be perfect because you're not really gonna notice anyway. Okay, then let's get this sleeve, go around the edges, and if you want to, if you don't like the broad as you can use the fine tip also, But I like I like you. The broad tip doesn't really bother me. Flip it around. Have the point is right here. So I like to have it right here on the side of the point. Much easier to get an accurate line. Okay. Cool knows as this side of the sketches drying the size a little darker that's idle, dry and match the other side. So don't worry about it. Looking off, give us. Um, give it a second while it dries. We're gonna give this a second while that dries and then go over it with him. Darker colors. 7. 06 Adding shadows in grayscale with marker: so the sketches dried up a little bit, and I can start to lay on some other layers of darker color and the same neutral gray marker. So I just used in end four to lay down the base color. Now I'm going to go up to values to an end six. And I'm going to start laying down the first shadows on this sketch. So what? I've noticed looking different pictures. There's different areas that are darker, um, have a shadow so under kind of his arm, this whole areas darker. Someone laid out in that part kind of everything around that is darker. Everything on the inside of this arm is darker because the torso casting a shadow on it. I'll do a few little bit there, and they give it some depth to, um, armpit the back side of this arm. They hold back side of this fabric even in the shoulder, a little darker on the back. Separate here, hood starker, squishy. And there was also a darker There's a shadow on the inside of the hood. You can see already they're starting to get some more depth to the sketch starts locally and at first it looks like really dark, but it's not. Don't worry, because it'll start drying. Looks a little better. Um, okay, the dark areas. Now, with that same marker, I'm gonna go over, except with this. I'm gonna switch over to the find tip, and I'm gonna do it line over all the black lands I drew. And this is also a rapid technique. This isn't photo realistic. It's just is a cooler method. I'm slowing way down because I'm trying to teach as I go. I hope this is helpful. Um, this method is supposed to be fast so that you can just quickly render out some ideas and make him look a lot cooler than kind of some. The boring digital sketches that air flat on illustrated that's kind of West are doing this because I like to sketch, and it helps me think better when it's a little more organic feeling not so computerized, or I'll do on iPad on called Procreate, which I'll do some courses on in the future. I'm let me know if you want to see any courses on that look, okay? And I'm also gonna dio darker value on Zipper on this sipper for sure. Okay. Cool. Good. Also do if there's a pocket. And if I notice that might look good to have a few more shadows somewhere I can go through Now those, um, this transition isn't that smooth. So what I'll do? This is an end six. On what basis? And then four. I'll go with it and five and see if I can kind of blend that color a little bit. Make it look a little more again. Same with this one. Blended a little bit. You can kind of do a few more passes as well. On the other parts of the jacket. Go over it. Kind of blend those shadows in a little more to make him look a little more organic. Um, also right here. I noticed Ana for others. Kind of an area where the chest has some death on the jacket. So that looks a little cool. Air, No more realistic. Even noticed on the other sketch on the on an image that there's machine to the fabric. So this panel's whole panel actually looks a little darker. Fate over here. Whole panels a little darker. We could go here toe blend that line little gnarly school too harsh. You can I'm gonna use this and four again. Just blend that line. Want dries? Cool. Let's try a little bit. Sections you can dio other pass on. This is the same base color. And for the more you do it, the darker it'll get kind of do more layers because these ended up from the shelves. Look a little dark. I'm gonna add a little more passes with this marker to kind of get everything to blend together. Okay, Don't worry about being super list the marker either. This technique, we're going to go over all with the black line, Um, the thicker pens, and it'll give everything a little more detail and definition. 8. 07 Colored marker layer: Okay, now the other jacket. I'm going to color the whole thing an indigo blue. And since I only have one value of blue Like I said, I'm gonna be using the colored pencils to give this the same depth and shows over here. I'm also gonna use his white cloak runs on this one to give a little more pop. That's the last thing I'll dio. So there's a kind of a brush tip on this. It's thicker. And then there's the fine point. First, I'm gonna use this cause you don't want to screw up with a deep blue because you're going to see it really easily. So, like there's outlined the whole sketch. I like the entire sketch. That reason because I'm due actually to two strokes of thickness so that I can fill the inside and not have to be so careful. All of one color jacket, torso. It's a good technique to use so you don't ruin your whole sketch and composition after photo. Shop it out or something. If you were to do it a mark way outside the sketch and look bad outlined. Technique helps so about done. Okay. No, Get the thinker brush tip. Once again, I'm just going to go kind of by pattern piece into the arm. First bunch of passes to make sure all of this blends together. Okay, Looks good. Number kind of for nickel vertical lines. Get this all the blend nicely. Do one more down here. One more line across here so I don't rapping God with the top. Do the hood as well so that I could do longer. Vertical lines should go back and forth filled us in this markers. Brand new so it fills in nicely. Do a critical lines are probably this twice because it's not getting enough ink. The first time screwed up right there. That's okay. I'll go over with the black line. It'll get rid of it, and I'm to go over one more time. Back and forth. Rotate depends. I go make sure enough ink the marker tip sections that don't have enough think you can tell all just kind of giving a few passes of the marker That looks fine. And when you used a black color pencil right after you, you'll add in depth and you won't notice the streak Penis of this sketch because the minds of long sketches. It's hard. You get kind of some street. He looks because ink dries faster in some areas or might be pressing harder in some areas. And so somewheres get more or less ink. Um, I'm just going through trying to clean that up. But like I said, the colored pencil will clear that up. This torso, peas and I was loved to learn how toe render with a marker. Because once you start sketching digitally, you just understand it that much more like if you go to an iPad or a back home or something , you he'll be better off because you have a bigger base and you've used riel design and art materials. And so it just makes you better off and you understand how it works. Okay, so great, that's a little choppy that this market, this market and lay down This actually is, I hope, but it's fine. I'm not worried about it. I'm gonna start using the color pencil, but since color pencil when you color over, it'll fill the fibers of the paper quickly. Um, and you won't build the drawing over it once you use this card pencil, so I'm actually gonna lay down my outer line waits with a black Sharpie and paper mate first before I lay this down. 9. 08 Laying down the heaviest black line weight: Okay, So using a paper mate, flair, pen and Sharpie, I'm going to outline all these. I didn't end up using the Muji 0.5 line way. I don't really need it. Um, so I'm gonna actually start with this paper made and work my way out. Somebody very outer line will be the Sharpie. So first, I'm just gonna go over the major, um, lines with the paper, mate. Cut everything out. This will kind of clean everything up. Since this is on the insides on the outside, the sketch I'm using paper made kind of the important important lines that will show more. Definitely sketch. I'm using the paper minutes. This is the elastic minor, and I'm gonna use this Teoh show the torso. This was that pocket. Do one liner here because to show some depth in the pocket, I'm gonna use the paper made as well toe pop out that hood. Okay, well, some of the the major creases, the side seam that park it. Okay, well, as the cuff inside, he's a thicker line to cut out the inside of that cough and then do it. Make that show up a little more, right there um, the nominate used this as well on the blue collar way jacket. Just you noticed your eye starts to notice a lot more. What's going on in this sketch starts to have a lot more definition with some darker lines . Inside to these, that marker did lay down a pretty dark color, but it's OK because using the black and white colored pencils, I can give this thing more brightness. Give this a little more depth and that zipper share her or Dev. Okay, that's good for kind of a secondary line way. So that was that initial line. My laid down with the Muji 0.3. And then this is the secondary line way. And now the third line wait is with a Sharpie, so make sure there's a fine tip on it. Don't use the Dolan. If you want to give it a lot more definition, I'm gonna go over around the exterior, and this will help clean up the whole sketch. So if you have marker that's bled out, bled over the original lines. OK, clears that up. Try to move fast, cause if you stop, you'll notice the marker, your hands. What kind of shake and you get kind of a ah, squiggly line. Fuzzy line. I just keep a steady movement. Okay. So that you could ask your child. Looks good. Now I'm gonna go pop the blue sketch out. Thicker line. Makes way better can and could bottom out. Okay, Looks good. Now it's ready for some. A little more death in some highlights. 10. 09 Gray highlights: so on this sketch, since I've laid down most of my dark values, I'm not going to use the but colored pencil. I may for a few spots if I noticed that it would look a little better. But, um, well, put it right here and cause I noticed something, Um, but really, I want to just go through and kind of put some highlights where light light shine. So usually, when there's a fold, there's a high point on the fabric, and so that will usually have some type of reflection on it. So I kind of go through and think about is it's on the side of a folders where there's, like, a high point on a fabric, so you get some kind of reflection. So what kind of see all start to add a little color? Here's a little bit of reflection top of this. Full this full as well. Okay, also on shoulder. Just add in a little bit of light right there. That kind of also on the right. Here. You can also use the white colored pencil. If you see kind of where the sketch got a little bit muddy and inorganic looking, you can kind of use it toe, make that disappear. Show that there's a a lighter area going across the chest because it's a higher point. And they can also show some fabric folds just with pencil. Also do might have a do little highlight on that caller. Okay, on the zipper as well. Be a little bit of highlight along the zip. Okay, then along here along this panel gonna be some white kind of, Ah. Wherever there's a shadow, there's usually a light spot as well with light shines. Like I was saying, you could add in a few more kind of Just make this full panic on the broad edge of the pencil and give this whole panel a little bit of light. Okay? And then on this side a little bit going on a little bit, Like here along this edge. Okay. Part this part. Last area to get Is this the sleeve? A lot of folds right here. So I'm just gonna going in between a little bit of color pop around there, so looks pretty good. Now I'm gonna go through and notice a few spots with this black colored pencil. I can give it a little bit of depth kind of in some of these creases, some of those folds are a little bit deeper. You can give those a little bit more darkness with this flight cleared pencil, I think right here and in a little bit on the inside of this. Just a little bit of depth inside this, this hood underneath her here, where there's a fold on that looks good to me. So let's go on to the blue jacket. 11. 10 Blue highlights: Okay, so in the blue jacket, since I'm on Lee using these two Teoh give it highlights and shadows. I'm I waited until I laid down all the line weights, and now I'm going to start with shadows. So, luckily, already drew kind of the general shadow areas and lines with the Muji pen. So I'm just gonna start going over those pop those out. Nice thing about colored pencils. You can feather it. So it's not like a hard line. Sometimes with the marker you can see kind of a hard line. Are you finished? So backside was excited. Jacket a little darker. Feather around this shot right here. Filled these in pencil dark. Get a chest case, then I can also to a secondary shadow. Okay, notice. There's a shadow underneath this arm cast from this sleeve kind of armpit. Then shadow going across this side of the encrusted set. The Trestman six. The light here, She could see it a little better. I also do a little bit of shadow inside the cuff. Okay, so just kind of making sure should have shows on here. And you can tell it has kind of a cool organic Phil and a little bit. A few more. We're here. Okay, Now I'm gonna used the white coat pencil. And I didn't make this pop a little bit. Give this thing kind of awesome. Gloss. Make the fabric come out a little more. I already see if I push too hard that it's a big highlight on it. So some markers really make the white colored pencil pop. So to be a little careful, make sure you don't overdo it. If you laid on the hard line, you can also kind of lightly feather it out so it doesn't look too harsh. Okay, let's see Egg, Give this. Check it a lot more depth giving some white colored pencil cool. So it's a bit a little highlight on the pocket. This one too. Starting to see. See, again this cool in spots it with the pencil. You can really bring it to life, Feder it out. Give kind of this whole chest area a little bit more depth. That's right. Here was kind of most. And then here is Well, that's kind of every one of these folds, like I was saying, has a light side and a dark side. This goes the same with digital. If you're doing a digital sketch on photo shop illustrator or on the iPad or some other thing, there's always a light in the dark when sketching soft goods, and it looks good to show. Once you finish a sketch, throw some highlights and some shadows on it make it look a little more realistic. And people understand. And you can also, um, communicate kind of the finish of the fabric. Even so, it's pretty cool. Okay? And no, like going up where this seems. I'm also gonna go over here and at it sketchy like Tell that looked and then I love it here . Highlight on cuff. A few highlights right here, the bottom where there's kind of some stretch caused from fabric being stuffed into the binding. Now last thing I think would be just a little bit of highlight on the on the hood looks good 12. Outro: All right, class. That's it. What I would love to see from you on this project is choose a soft good of your choice and either in your sketchbook on scratch paper draw one color version and one grayscale version using techniques in this video posted under this show. And I'd love people to feedback. Thanks for watching.