Beginner Fashion Illustration: Designer Edition

1. Introduction: [MUSIC] Hi, my name is Lori. I'm a fashion illustrator based out of Utah. I've loved fashion my whole life and that love of fashion I've translated into illustration. Those illustrations have given me the opportunity to work with brands such as Neiman Marcus, Pixi Beauty, Nordstrom as well as others. Illustrating fashion has given me the opportunity to really connect to fashion in a different way. In this class, I'm going to show you how I sketch the most common fashion illustration pose, the walking pose. We're going to do this by exploring and being inspired by five of the top luxury fashion brands in the world, Louis Vuitton, Saint Laurent, Gucci, [inaudible] , and Chanel. If you want to learn a little bit about the history of these luxury fashion brands while you up your game on fashion illustration, this is the class for you. 2. Project and Materials: For the class project, you will illustrate one of your favorite looks from a luxury fashion brand designer in the walking pose. The way we'll do this is by exploring five of the top luxury fashion brands in the world: Saint Laurent, Gucci, Louis Vuitton, Chanel, and Hermes. We're going to do this by creating an inspiration board dedicated to each designer. Once the inspiration boards are created, we're going to pick one look from our inspiration board to illustrate in the walking pose. You'll get the chance to learn just a little bit about the history of these luxury brands and you'll be able to up your game in fashion illustration. So are you ready to sketch some fashion and learn a little bit about these luxury brands in the process? Then let's get started. For this project, you will need the following supplies. First, a sketchbook, preferably a marker friendly one that doesn't allow marker to bleed through the pages. I prefer to use Mixed Media paper for the thickness and texture it gives. Next, you'll need a pencil and eraser. I use a number 2 pencil because it sketches lightly and erases easily. But you can use whatever you prefer. You'll also need some pens. I use Micron pens in the number 10 and number 5 sizes. Whatever pens you choose, just be sure to have at least two sizes and that they are fast-drying and smudge proof when erasing over them. Lastly, you'll need some markers. I highly suggest using alcohol-based markers because they won't blend with your pen lines, but you can use whatever you like best. Also, markers that have a brush tip will be very helpful for the project. All right. Let's get started. 3. Yves Saint Laurent History: [MUSIC] The first luxury fashion brand we're going to be talking about is Yves Saint Laurent. Yves Saint Laurent grew up in Algeria, which is in the Northern most tip of Africa. Growing up, he loved beauty, fashion, theater, ballet, and he translated some of that love through illustration. Some of his illustrations were seen by a Vogue editor at the time who passed them along to Christian Dior, and Christian Dior was so impressed by his illustrations that he hired Yves to be part of his team at Dior. In 1957, Christian Dior passed away suddenly from a heart attack, but before he passed, he actually named Yves creative director of Dior. At a really young age, Yves Saint Laurent became the creative director for a huge powerhouse Dior. His very first collection that he debuted in 1958 was a huge success, and it was termed the trapeze collection by editors and critics. It was termed a trapeze collection, because it "freed the waist." Dior was known at that time to have very cinched waist lines, and this collection had silhouettes in it that were more of an A-line and really freed the waist. Everyone loved it and it was greeted with much praise. In 1960, Yves was drafted into war, but he was able to return to Dior on an exemption based on health grounds, but when he returned, he found that they had actually let him go as creative director at Dior. He then sued for breach of contract and parted ways with Dior. In 1961, he opened his very first store, Yves Saint Laurent, and so began his brand. One of the most famous looks that Yves Saint Laurent created was a dress he created in tribute to the artist Piet Mondrian in the fall-winter collection of 1965. Also in that collection he created a wedding dress, which was very avant-garde and very '60s. He also created a long evening dress and a short evening dress from the spring-summer collection of 1967, which really took on a look of pop art that was really big at the time. He's also credited as the creator of the safari jacket and the pantsuit for women. There is a story of a New York socialite Nan Kempner, who was once denied entrance into a New York restaurant because she was wearing YSL pants, a pant suit, and for a woman to wear pants at the time it was considered informal. She immediately took off the pants and walked into the restaurant wearing just the blazer. He also created a gorgeous long black evening gown with a large pink bow in his fall-winter collection of 1983. It was a beautiful long dress with a huge oversized satin pink bow that wrapped around the bust area. Yves died in 2008 at age 71 of brain cancer. But before he died, he had named Tom Ford, creative director over the Saint Laurent brand. Tom Ford stayed until about 2004, when he gave the reigns over to Stefano Pilati. Yves Saint Laurent was known for his impeccable tailoring and subtle details. He had a modern take on traditional clothing and was also a very talented illustrator. He was quoted as saying, "What I try to do is make the perfect type of garment, whether it's a simple blouse or pair of pants, and encourage women to build around them. So a woman needn't change her wardrobe constantly." I love this quote from him, because as a luxury fashion designer, it seems that excess would be important, and here he's really talking about building around one piece and not overdoing it. He was always a champion of strong women and he really endeavored to empower women, and the brand still really embodies that vision today. [MUSIC] 4. Gucci History: The next luxury fashion brand that we're going to discuss is Gucci. Gucci was founded in 1921 by Guccio Gucci. Guccio as a young man worked as a bellhop at a hotel, and he was inspired by seeing the luggage carried by aristocrats and other high society patrons of the hotel, and also noticed too that their pastimes included horseback riding. This inspired him to create a brand that was really centered around Italian leather. In 1921, he opened his first store in Florence, Italy, which mainly sold luggage, but also sold other leather goods. In 1953, Gucci created the iconic Gucci loafers with the horse bit buckle. Later in the years, they created one of these loafers for the Metropolitan Museum of Art, which is still part of their permanent collection and on display today. In the 1960s, Gucci really worked to expand their business and started to include things like accessories including scarf. In 1966, the flora scarf was created and had been inspired by Princess Grace of Monaco, Grace Kelly. It had 43 flowers, insects, plants, and 37 colors. It was beautiful, it was unique, and it was intricate. In 1981, the brand launched its first ready to wear collection, and this collection was designed by Manila Verdi. His collection was inspired actually by this floral pattern. The brand was owned and operated by the Gucci family until 1989, and there were always problems within the family. But in 1989, the last of the family shares were sold to a company called Investcorp. Investcorp really invigorated the brand and brought in people who really reinvented the brand and made it the luxury brand that it once was. At the time Investcorp also brought in Tom Ford and eventually he would be named creative director of Gucci. Tom Ford's vision for Gucci was really sleek, very sexy, kind of an evening glamour feel. It was very popular in the '90s and really continued to reinvigorate the brand and continued to make the brand successful. The current creative director is Alexandra Michelle. Michelle is really the creative director that's brought that quirky style, that androgynous kind of style to the brand that you might associate with Gucci today. He's done a spectacular job for Gucci and he was actually named best international fashion designer in 2015 for the work that he's done with Gucci. In 2021, that was the 100th anniversary of Gucci and he launched a collection called Aria that was just stunning. [MUSIC] Gucci is a brand that's found success each time it's been reinvented and changed. It's an incredible brand that champions creativity paired with luxury and whimsy, and continues its success today. [MUSIC] 5. Chanel History: The next luxury fashion that we're going to discuss is Chanel. I'm sure you're familiar with Chanel. Coco Chanel's real name was Gabrielle. Gabrielle Bonheur Chanel grew up very poor. Her mother died when she was really young and her father actually sent her away to a convent to be raised by the nuns. Once she left the convent, she became a seamstress and did alterations. She earned her nickname at that time Coco because the two songs that she really knew and could sing both had Coco in the title, so people started calling her Coco. After securing some financial backing, she debuted her first collection in 1916 and introduced the first Chanel suit in 1925 with the colorless jacket, which was revolutionary at the time and became very popular. In 1932, she was asked by the Diamond Commission to create a line of diamond jewelry and this jewelry was exquisite. She displayed the jewelry on mannequins instead of on black velvet busts, which were typical of the time. It really gave this air of enchantment and whimsy and brought the diamonds to life. In 1950, Chanel's designs became a lot more romantic, a little bit more whimsical. There were more ruffles, a little bit more feminine details. These designs were a departure from the traditional suits and more structured tailored garments that she had been known for. But these beautiful silhouettes were met with much praise. In 1971, she showed her final collection before her death. It was really a renaissance and a tribute to her very first collection in the 1920s and included details that she included then such as the whipcord belts. Chanel was known for the classic black and white, lots of pearls, beautiful cardigans, and sophisticated but comfortable suits. She had many ups and downs over her career. But by all accounts was one of the most successful and best-known international designers of the world. She was a very meticulous designer and she had been known oftentimes to keep models standing for hours and hours while she worked to the point where a model might even pass out at times. In 1969, a broadway played debut with Katharine Hepburn playing Coco. It was an instant hit and was nominated for seven Tony Awards. Two of which it won first for best-featured actor in a musical and best costume design, of course. In her old age, there were reporters that described her as an outrageous old lady wearing a boater and boots theatrically cantankerous, cutting away with her famous scissors that were always around her neck among ropes and ropes of pearls. Although she was really known to be very tough sometimes to work with, she was very well-respected in her fields. Dior was even quoted saying, "With a black pullover and 10 rows of pearls, she revolutionized fashion." After her death, eventually, Karl Lagerfeld took up the reins and he continued to carry out her vision for Chanel perfectly. Chanel is the oldest haute couture house in the world and continues to be an icon in the fashion world. She was a great example of what hard work can do when you've got a talent and a dream. She was an incredible designer, iconic in every sense of the word and the brand continues to be one of the most successful luxury brands in the world today. [MUSIC] 6. Louis Vuitton History: [MUSIC] The next luxury fashion brand we're going to be talking about is Louis Vuitton. Louis Vuitton got his start much like Gucci did as a trunk maker. In 1937, he apprenticed under a trunk maker and soon became very skilled and very highly valued in his profession. He opened his own trunk making business in 1886 and he really revolutionized locks at the time. He noticed that wealthy people traveling were very noticeable because of the kinds of traveled trunks that they carried, which made them prone to being robbed, so he created and patented a new lock system. This lock system was so successful that he actually challenged Harry Houdini to get inside one of his strengths and try and get out of one of his trunks by picking the lock. Harry Houdini unfortunately did not accept the challenge. The infamous Louis Vuitton logo of the interlocking L and V letters was designed by Louis Vuitton, son George Vuitton in 1896. Then a few years later in 1916, Louis Vuitton opened at the largest travel good store in the world in Paris, France. The store was immediately successful and it was even known to have patrons such as Coco Chanel. In the 1940s, Louis Vuitton began to expand their line of products, but also began to expand their stores internationally. It was really a time of growth for Louis Vuitton. Then quite a few years later in 1997, Marc Jacobs, as the creative director, debuted the brands very first ready to wear collection. During this time in the nineties, there was a big rise in the popularity of rap and hip hop culture and a designer by the name of Dapper Dan actually created garments using a fabric printed with designer logos, including the Louis Vuitton logo. The stars he created four included Run-DMC, LL Cool J, and Public Enemy, as well as many others. Dapper Dan has since been recognized as a talented and visionary designer of the time, but lawsuits were threatened at the time because he was using the logo without permission and infringing on copyrights. Also, in 1997, Marc Jacobs collaborated with Takashi Murakami to re-invent the logo, Louis Vuitton logo, and the Louis Vuitton bag with this logo was actually used in the movie Mean Girls, a couple of different times, Gretchen holding it, I think the first time in the movie. This really popularized the bag to the point where it became the it bag for all girls during this time. In 2021, the brand collaborated with a bunch of different artists to come up with some really unique limited edition bags that really stretch the versatility of the bags themselves. Louis Vuitton is easily recognized by its logo and it will always be known for the impeccable craftsmanship of their bags and their garments. [MUSIC] 7. Hermès History: The final luxury brand that we're going to be talking about is Hermes. Hermes was founded by Thierry Hermes in 1837. It was founded as a harness workshop, as well as the shop that created leather goods revolving around horseback riding. They made horse bridles, saddles, and other writing gear, and then eventually got into making bags. About 100 years later, in 1922, Thierry Hermes's son Emile Hermes was visiting Canada and noticed that the military vehicles had a zip mechanism that would zip canvas down to the top of the vehicles. He obtained exclusive rights to the zipper and this became a staple in all of the airbase bag, the zipper. In 1925, they started making men's wear garments. This included a golf jacket, and then in 1927, they expanded to start to include some jewelry in their line as well. The first silk scarf to be designed by airbase was in 1937 and it was designed by Robert Dumas, which was Emile Hermes's son-in-law. The scarf is an iconic Hermes piece, and it became very popular with celebrities that included Jacqueline Kennedy. Robert Dumas overtook creative control of Hermes in 1951 and this is when they decided to rename one of their bags, the Kelly bag. The Kelly bag was named for the Princess of Monaco, Grace Kelly. She was photographed carrying the bag and ladies eventually were said to flood the stores asking if they could get the Kelly bag. The first ready-to-wear collection was designed in 1967 by Catherine Karolyi who also designed the iconic h buckle, which became an important part of Hermes's brand. In 1973 Hermes published the very first issue of its very own magazine Monde D'Hermes meaning world of Hermes, which I would die to get my hands on a copy of that. The Birkin bag is also a staple of the Hermes brand and it was designed in 1984 by a chance encounter between Jean Louis Tomas and Jane Birkin. The bag is elegant and voluminous and is one of the pieces that's best-known in the Hermes line today. In 2005, Pierre Alexis Dumas became the CEO of Hermes and he partnered with Apple to do a special edition Apple Watch. It was very elegant, really paid homage to the beginnings of Hermes. Hermes is known for their beautiful silk scarfs, the Birkin bag, and lots of focus on impeccable craftsmanship and quiet luxury. [MUSIC] They continue to be a top contributor in the luxury fashion world today. [MUSIC] 8. Inspiration Board Creation: [MUSIC] The next thing we're going to do is create our inspiration boards. We will refer to this when we start the class project and I'm going to create mine in pages. You can create yours however you want if you want to use Pinterest and just pin all your images, or if you want to use a different application to build your board, that's just fine. However, is easiest and best for you to save photos or to do screenshots of things off the Internet. I'm going to go ahead and click "New documents" and from here make sure that blank is chosen and click Create, and I'm going to come up here and rename my document, the designer that we're going to be looking at. I'm also going to add that down here to the document itself just so that I can keep organized and know what I'm doing. Then the other thing I'm going to do is I'm just going to type a few words down that I feel like this designer embodies so that I can keep those words in my mind as I comb through collections. Yves Saint Laurent was, to me, known for masculine details, lots of black, and large bows, and figure flattering silhouettes. I'm going to try and keep those in mind as I comb through the looks on vogue.com. I'm going to pull my document over here to the side, and I'm going to leave it up just like this. I'm going to pull it over to the side and I'm going to go ahead and hop onto the Internet. Fire up that old Internet and go to vogue.com. From here, you can either make a free account or not, you don't have to. If you do a free account, which is just your email address, you just make sure to get all of the collection. Sometimes you might miss some if you don't have an account, but it's completely up to you. From here, there's this menu across the top, you're going to want to click "Runway." Once you get to the runway page, there's another menu along the top here that gives you a couple of ways to find some different collections or to find the collections you're looking for. First you can click on "Seasons" and this is all of the collections that Vogue has archived all the way back to 1988. I would suggest that you don't start really looking at collections until the year 2000. That's where you're going to find the most and the best looks, the best quality photos and everything like that. There's probably some in the '90s as well, but I would suggest starting in the year 2000 and then going up from there. That's one way you can look for a collection or you can go back to this menu across the top click Designers. This flyout menu comes out again and you can click the letter of the name of the designer and it'll take you directly to that section. Then from there you can scroll through and find the designer that you're looking for. Saint Laurent or Yves Saint Laurent actually became Saint Laurent in the 2000s. I'm going to go ahead and click on Saint Laurent. Here it takes you to the designer's page, it gives you their most recent collections first. You can read about their most recent collections if you'd like, or most recent collection. But then from here, if you just scroll down a little bit, there's the Show More button. When you click "Show More" it just continues to go back in time. We're just going to continue to click "Show More" and it's going to take us all the way back to 2000, I believe. This is a great way to really dive back into the history of these luxury brands. Spring 2000 is the very first collection that they have here on vogue.com that you can take a look at. I'm going to go ahead and click on that collection. When you click on a collection, it takes you to another page that gives you a little blurb about the collection itself, and then if you continue to scroll down, it gives you all of the thumbnails for every single look in that collection. As you can see, very 2000s. Let's see, I'm going to click on this "Look 36." Takes you to the look itself. Sometimes too it'll even show an additional picture of hair and makeup and accessories. If this was a look that I wanted to pin, what I would do next is either click the Pin button if you're going to use Pinterest for your inspiration board or what I'm going to do is I'm simply going to click on the image and drag it over to my document and from there it's going to insert it into my document. Once I have it in my document, I can resize it, I can move it around, and I can place it, and do what I want with that image. That's how I'm going to build my board. I'm going to just click back to all of the seasons, all of the collections for Yves Saint Laurent, and I'm going to get started. I'm back on my inspiration board and I'm just going to go ahead and resize all of my images so that they're all pretty much visible. From here as I narrow it down, I'm going to get rid of looks that I feel like yeah, I like them but to me it's not Yves Saint Laurent. [MUSIC] I think this one's probably one of my top ones. I'm going to get rid of this one. The other one that I really love is this one. I just really feel like it's the trapeze collection where it's got that a line look, even shows the crochet, brings back that wedding dress feel, and then it incorporates the bow as well and a little bit of black. Between these two, these are the looks that I think best say Yves Saint Laurent to me. I'm going to illustrate one of these looks. [MUSIC] Once you get your inspiration boards done and you're ready to move on to Illustration, go ahead and click to the next video. I'll see you there. 9. Walking Pose Stick Figure: [MUSIC] We're ready to get started working on our walking pose for our fashion illustration. Before we get started drawing, I just wanted to remind you that there are some resources for practice in the project. I think it's the Project/Resource tab. Anyway, it is basically a help that I've put together that measures out your 10-head fashion figures since all fashion figures are roughly 9-10 heads. This roughs out where all of your proportion should fall. Because I start all of my fashion illustrations with stick figures, I've got a stick figure page, and then I also have one where I've added shape to it. This can just help you get familiar with the proportions that you're going to be working on in this project. There's also a blank page too for you to just practice your own stick figure, to shape, to fashion illustration altogether. Make sure and check those out in the Resource tab [NOISE] if you want a little extra practice help. The walking pose is the most common pose in fashion illustration, and I thought that would be perfect for this project since we are looking at a lot of photographs of models walking the runway. I thought that would be appropriate. To get started, I draw out all of my fashion illustrations starting with a stick figure. I'm going to start on this side. Remember there are about 10 heads tall, so you need to remember to proportion that out and make room for that. But I just start at the head and I usually do my head cocked from one side or the other, and then I angle my neck the opposite direction. Even if your face is up and down, you'll want to angle your neck a little bit because you shift your weight as you walk and because you shift your weight, your neck shifts a little bit too with your shoulders. After you draw in the neck which is about half the length of your head, you draw in the shoulder lines. The shoulder line is about here and it's exactly perpendicular to your neck. The torso area is an upside-down triangle and it's angled the opposite direction of the shoulder angle. It's like an upside-down triangle with the top of the triangle cut off, and then this line here is going to be your waistline. Your waistline as you can see is angled opposite of your shoulders and that's again because as you walk naturally, you shift your weight and that causes your shoulders and your hips to shift in opposite directions. Then your hips are going to come next and your hips section is only going to be about one head length. Your torso is about one and a half. This again is the same triangle, it's right-side-up with the top cut off. Again, angled opposite the shoulders. Then from here, I start with the legs and the legs I start with the right leg first. Technically, I guess it's the model's left leg but I'm going to refer to as the right leg. It comes down and actually angles over to the opposite side because it's supporting all of the weight of your figure. This is going to be about where the knee falls and then where the ankle falls is going to be about right here. As you're walking, you can probably picture. If you're looking at the front of your model, one leg is always going to be in the back. This is what I call, I can't call the pirate leg because it looks like a peg leg when I draw as the stick figure. Because you don't see the calf and the foot very much, there's not really a reason to draw it in unless you were to kick it out to the side like that or something but I like to tuck the calf portion of that behind this leg. That's a lot. That's saying a whole lot but anyway I think you get what I'm saying. Once I have that mapped up, I come back up here to the arms. This arm is going to be doing the opposite of this leg and because this leg is out front, this arm is going to be tucked back. You're also not going to see it very much. You might see a little bit but you really don't have to draw even the elbow joint. I don't usually sketch in but just know it's going to be tucked behind. This arm is going to be opposite of our peg legs. It's actually going to be coming out at us and you'll be able to see it. She's holding a purse, chances are she's holding it with that hand. This is essentially the walking stick figure that I sketched out. I also try and do a basic crisscross on the face so that I know exactly where my eyes are going to fall and that's pretty much it. Again, this is just really to map out where the shape is going to be. I'm going to go ahead and practice this a few more times and I'm going to shift from this leg coming forward to this leg coming forward with each one. Let's go ahead and dive into just a little bit of practice. [MUSIC] I've practiced some of the walking pose with my 2H pencil and now that we've practiced a little bit, I'm going to go back over these and add shape so join me in the next video. [MUSIC] 10. Walking Pose Shape Figure: [MUSIC] We've been practicing the walking pose and now we're going to add shape. We've drawn out some stick figures for practice. Now we're going to practice putting shape on this walking pose. I'm going to be using just a red pencil just so that you can see a little bit more clearly where I'm putting my lines and why I'm putting them like that. I'm just going to start over here and I'm just going to jump right in. I start at the top and there's a neck muscle here that I sketch in, connects your neck to your shoulders and this just gives a much more natural line to the neck. I draw in my little neck muscle shoulder. Then I like a curvy shoulder, something that pops up, so drawing my shoulder there and with the arm, the arm comes down and cinches in a little bit at the elbow and then it's like a bowling pin. It is wider in this area and then again tapers back down at the wrist. I'm going to pick about there, that's also going to be my bustline and I'm going to sketch that in there. This arm here is really not going to be showing very much. Again, I just draw the top of that bowling pin and tuck it behind the torso. Then moving down to the waist and this is a point too where you can really shape your figure however you'd like it. If you want it to be a little bit more curvy, a little bit more hourglass shape, whatever you want, this is the best time to really make sure that you got the shape that you want. Then I'm just going to carry down the line of the leg. You can picture it as an S shape like that, where you've got the thigh that comes out this way and then on the other side you've got the calf muscle over there. This is the midsection here and the thigh tapers towards the knee a little bit and then comes back out just like a lopsided bowling pin. You do have a wider section here for your calf muscle, but it's not exactly across from each other. You've got this lopsided bowling pin a little bit like the arm up here and then it comes down to the ankle. For the foot and for the hands really, you don't have to worry too much about doing detail with fashion illustration. It's really all about the outfit. It's really all about the clothing and making it really artistic and stylized. Don't feel like you have to do too much. I usually just do a rectangle with a triangle at the bottom. All my figures are usually wearing pumps. They're just easy to indicate and because that's a very small part of the overall illustration, there's not a lot of detail that can be added anyway. Don't feel like you have to go too in depth with the foot or the shoe. Coming back up to our other leg, the leg that's tucked behind, our pirate leg here, you're definitely going to see the knee because this leg is going to be coming forward, but it's not forward yet. You've got the thigh of your other leg here and then this thigh is going to be tucked behind, you're going to see a little bit of the knee. Then if you can think perspectively speaking that this wide part of your calf is going to be protruding back and so it's going to look a lot higher. It's going to be shaped a little bit like that and you're going to see the full top of the foot. It's going to be something like that, where you do this hook motion coming down and then you want to see a lot more of the foot because you're getting the whole top version of the foot or the whole top view of the foot. Then moving back up to the face, don't do a whole lot here because again, it really depends on what clothing you're going to add. You don't want to add long hair right now if a lot of the detail is going to go up here. I usually just mark out where my eyes are going to be if I'm going to do a face and nose and then where a mouth is going to be. But that's really all I do for shaping and for the face area because like I said, you don't want to add a whole bunch up here and then have it obscure the part of the ensemble if in fact it needs that. Again, with the hand too, don't feel like you have to go overboard with the hand. I usually like to do again, like the foot where it's a triangle like that and then or a square, I guess like that or a rectangle and then a triangle at the bottom with the fingers. Just don't feel like you have to put a lot of detail into the hands or the foot. I'm going to go ahead and finish off the rest of these figures so you can see how I shape out my stick figures. Feel free to practice on your own as well. [MUSIC] This is how I shape my walking pose. I've tried to create a couple of curvier shapes for you to see and then just more of my traditional shape. Go ahead and practice this a little bit. Once you feel comfortable, sketch out your fashion illustration all the way to this point and we will jump into our luxury fashion brand inspiration boards and finish each designer individually. I'll see you in the next video. [MUSIC] 11. Yves Saint Laurent Illustration: Hopefully you've some time to practice the walking pose and you're ready to go with your outfit from your luxury brand designer, Yves Saint Laurent. This is the outfit that I was most inspired by. I think that it gives a really good nod to that first collection, the trapeze collection with that A-line silhouette. I think that it's a great reinterpretation of this wedding dress, and I love that it has a bow. It incorporates all my favorite looks from Yves Saint Laurent and really updates everything, really gives it a modern look. I'm going to go ahead and start by sketching in the silhouettes of everything and remember to try and use a 2H pencil, because using a 2H pencil, it's going to be easier to come off the paper. Because erasing does more than just erasing the pencil liner, also pulls off some of the ink. You do want to make sure that you have a pencil that comes off the paper easily. I really recommend starting with a 2H. I'm going to just start from the top. I'm going to start with this beautiful silk ball, and I'm going to sketch in those lines. I'm not doing all of the detail of the outfit because that's where I'm going to use my pen mostly to sketch in the full details and things like that, sparkle details, all that. Then this beautiful cardigan coat that she's wearing with these slotted sleeves, I imagine it going down like this. That would be the front. I'm not going to sketch in the texture necessarily, I can do that again with the pen, but just getting the lines situated. Something like this. Then her dress is very much an A-line. It's an A-line, but it's also a very stiff hem, it's going to stay pretty straight across I'm safe in keeping it straight like that, and then she'll have these black tights on and these beautiful tall metallic boots. With boots like this that are mainly straight, you don't have to angle in too much at the ankle. Then starting with this one behind because the top of the boot goes across the leg and the leg is pushed back, you want to make sure and angle those lines appropriately, you wouldn't want to draw it across like that. Because then really you're saying that the boot has a line like that. Make sure that whatever leg is pushed back that you angle the tops down towards the other leg. This one is going to have a more severe taper to the ankle because the perspective of it is going to cause it to look that way. We've got the outfit sketched out. Next, I'm going to go up here to the hairline. I put my pencil down and I'm going to pull out my number 10 pen, my number 10 micron, and I like to start with the larger lines first and then work smaller. I've got all of the bold lines down and I'm going to go back in with my number five micron and sketch the details that I want included. That's all I'm going to draw in with the pen. I'm going to go ahead and get my eraser now and erase all of my pencil lines. All right, I'm ready now to start adding the color and I'm just going to start with skin tone. She's a pretty light tone model. I'm going to start with her face, and generally speaking, you don't have to fill in every little bit of the illustration with color. I feel like you don't even really have to worry too much about staying in the lines because it's about artistic expression and fashion. Especially with a pose like this, everything is moving, so don't feel things have to look perfect. In fact, leaving some areas not with color, not colored in can really add a lot of interest. I'm going to go back over now with some shadows. There are some places where if the light is directly in front, where there's going to be some natural shadows. Usually those occur right above the eyes and in the corners of the eyes next to the nose. Then if they've got those cheekbones, your face is rounded. Naturally on the sides of your face you're going to have more of a shadow because those are the areas that are receding from the light. Then remember that because this leg is tucked back, it is going to be in shadow for the most part, certainly more than this front leg. Something like that and a little bit there too. The next thing I'm going to do is I'm going to work on her dress and I'm going to start with a warm gray three. Her dress is definitely gray, but it's really a warm gray. There's more brown to it than there is blue. Definitely, I think a warm gray. I want to go back over the places where I know I want some shadows and you can see from the photograph there's this natural crease right there, so I'm just going to add that in right now so that I know that it stays there. Something like that, and then I'm going to go back over just a couple of spots with a gray that's just a little bit darker than that just to really emphasize those shadowed areas. Adding shadows really is your friend because it adds contrast and contrast adds interest. The next thing is going to be the bot and this coat card again. This is a difficult one one do because it is light. It's almost white. It's really a creamy white. It's almost white, it's called pale fruit pink by Copic and I'm just going to go over the whole coat with it. It is more of a skin tone, but it's going to add that little bit of off-balance to the white that the cardigan is. Then I'm going to go over that with a warm gray because the warm gray is going to be what I'm going to create that texture with. It's just a little bit darker than what's already there and I'm going to create that knitwear almost bubble texture. Something like that. Actually I just realized her legs are not showing, it's actually a black tight. Before I forget that, I'm going to go back over her legs with an almost black. It's a cool gray number 9. Back to the cardigan coat. The next thing I'm going to do is I'm going to take actually a gray pencil, and I'm going to go back over where I have created some of those bubble looks with the marker. Just to continue to show that there is texture there. The reason I use pencil for this and not pen is because number 1 I do want to keep the light brightness of the coat, and using a dark black pen is going to eat into that brightness. Also using a pencil is going to pick up more texture from the paper, and it's going to add more of that not to it being knitwear. Something like that, and then the next thing I'm going to do to is I'm going to go back over the dress with some really dark spots. The ground or the gray that I'm going to use is the same gray as I did these really dark shadow points. These dots are for the shadows to the sequence. Your sequence; it shines, and because it's shines it has a shadow behind it. We'll come back to the white portion because this is all I'm going to do on the marker on the dress. Next I'm going to go up and do the hair. Next I'm going to do the boots and then I'll come back up and do the shadows and the hair. The boots are a cool gray. You can tell because they're a little bit more blue than the dresses which means they've got some more cool tones. Because they're so metallics, so shiny, I'm going to leave just that bit of white right down the center and then I'm going to back over the sides with something that's just a little bit darker. Just again creating that idea that there's parts that are protruding a little bit more and parts that are receiving. Next I'm going to go back up to the hair and just create some shadow. The next thing we're going to do is the dress, and the address has a little bit of shine, a little bit of sparkle to it here and there. What I'm going to do is because it's a tweed, I'm going to go over it with my gray pencil just like this just to give it that texture elements of that refer tweed look. Something like that. Again, using colored pencil over your marker is going to pick up more of that texture from your paper. The next thing we're going to do is the sparkles, and I just use this Recollections Felt Tip Opaque White marker to do dots with because it's the best that I've found. I know that other illustrators have used whiteout mark or whiteout pens from BIC, and there's also the uni-ball pen. That's really good, I use that sometimes too sometimes to getting in the shadows when when it's light like this; when the dress is light, but it's got a sparkle to it. Sometimes it can be hard to see. That's what I'm going to do for the shine and the sparkle on the dress. Well, second last thing I'm going to do is the lip and cheeks. The lip is a really light pink, and I used a colored pencil for the lip and the cheek because if you use marker it can still bleed a little bit into the face. Last thing that I do on my illustrations is I go back over with the number 10 in any areas that I feel like need that final bit of definition. If you've thought black and you still want to define a certain area, you could use a white pencil to just gently go over where you want that definition or separation to be. This is my Yves Saint Laurent look, and I think it turned out really great. I hope yours did as well. I'm looking forward to seeing all of your projects. I can't wait to see you in the next videos. 12. Gucci Illustration: [MUSIC] So you've had a chance to practice some of the walking pose, and hopefully you've come back with a walking pose, ready to go, ready to add that fashion. I'm going to be doing the Gucci look that I've chosen. This is my inspiration board that I did for Gucci. I think I'm going to go with this one with the green, these teal pants, scold belt. I like the bold colors, and I think that Gucci is definitely about boldness. I like that it's a modern silhouette, but that it's also retro in an '80s color scheme. Anyway, I'm going to get started. I'm going to start with using my pencil, my two inch pencil, and I'm just going to sketch in the silhouette of the clothes. I'm not going to worry too much about the detail of anything because I'll do the details with pen. [MUSIC] I'm going to go ahead now with my Number 10 micron. I like to start with a larger tip because I like to get my big bolder lines sketched in first. Using the mixed media paper, it really gives you some automatic texture to your illustrations. That's part of why I really like using the mixed media paper. Remember too, you don't have to connect all of your lines. You really want this stylized illustration. Don't feel like you have to connect all of your lines or that everything has to be perfect. [MUSIC] I'm going to put the 10 away, and I'm going to pull out my Number 5. I'm going to go back over some of the more subtle details. [MUSIC] I'm going to go ahead and erase everything now. I just want to remind you that part of the reason I do erase is because it lifts up just a little bit of that extra ink from the microns, and it helps your markers not to bleed or not to make some of that ink muddy up the color. [MUSIC] Now that I've erased all of my pencil lines and I've got a clean paper, I'm going to go ahead and start with the skin tone. The skin tone is pretty light on this model. I'm going to start with just a light called eggshell. Don't feel like you have to draw the model exactly the way that you see it. Certainly, you can do different skin tones, different hair colors, different hairstyles. Whatever you feel like maybe represents the brand the best in. She's not showing a lot of skin, so I'm not going to have to worry too much about that. Actually that's the top of the pants. Then, if you'll notice, I didn't color everything in. I left some parts white just to give the idea that there is light coming in at different directions, and that there is shape to the figure. I'm going to go back in with a darker skin tone and just create some of those natural shadows. If you think about it, the best way to figure out where your shadows are going to be, is first determine where your light is coming from or where you want it to be coming from, and then think about the way that your body is shaped. Everything protruding closest to the light is going to be the part that is going to be the lightest. There are some places where there's just natural shadows all the time, which are the inside of your eye, right next to your nose, and right underneath your chin. Those are the always get a shadow parts. The next thing I'm going to do is the hair, just to get it out the way. She's really blond and her hair is very shaggy. [MUSIC] Now for the outfit, she's got this gorgeous orange jacket on. Whenever you start, make sure that you start with the lightest color that you can, because once you go darker, it's very difficult to lighten it up. It is a pretty shiny jacket. It's probably not as shiny as silk, but I want to try and keep some areas of white so that I can indicate that it is a shinier material that's got some sheen to it. Maybe something like that. Then, I'm going to start with the top. The top is definitely not shiny, but it's got some highlights and some shadows to it in the creases. Keeping that in mind where those might be. Again, I'm just starting with my lightest colors, and then the pants are this gorgeous teal color, and they are not shiny either. They're like the top. They're crapy material. [MUSIC] Something like that. Then I do have a gold colored marker. It's not a shiny gold, it's just the color of gold, and do that. Now, I'm going to go back into the jacket with a darker orange and create some of those shadows. [MUSIC] The places that you want contrast in are going to be crevices or where one part is overlapping another part, you're generally going to see a shadow there. If it's tucked behind, you're going to see a shadow there. If it's headed behind the body, there's going to be a slight shadow there. Then I'm going to go back into the top. The top is a little bit more difficult because it definitely is not shiny, but it definitely needs some shadow to it. Something like that just to create this idea that there are some folds and some movement. Then, I'm going to go back over the pants with actually the same color. The great thing about markers, is that you can generally create many shades or few different shades from one marker just by waiting for the first coat to dry, and then going back in and over it. You can see there's definitely a contrast there. I'm going to make sure I get right under the belt because that's definitely going to be a shadow under the belt area there. Then this leg that's behind is definitely going to be all in shadow. [MUSIC] Now, I'm going to go back in, since the outfit itself is pretty much done, I'm going to go back in with my opaque gold marker for the belt. Then I'm also going to use a colored pencil for her lip. [MUSIC] The last thing I'm going to do is, I like to add just a little bit of color on the cheek. There isn't any on this model, but I like to add it, add a little bit to the cheek. There's that. Then, last but not least, I'm going to go back over the eyes because when I erased, it really took a lot of the ink off. [MUSIC] This is my Gucci look. I think it turned out great. I love the bold colors. I can't wait to see what looks you've chosen, and how your illustration has turned out. Be sure to post it in the class projects. I can't wait to see what you've come up with. [MUSIC] 13. Chanel Illustration: [MUSIC] Hopefully you've practiced and you have finished working pose to now start your Chanel look. This is my Chanel inspiration board and I had a lot of fun going through Chanel. Chanel is definitely one of my favorite luxury brands and there was so much to choose from, I decided to go with this look because it pays homage back to the roots of Chanel with the colorless jacket, the beautiful logo, there are certainly a lot of black chains around the waist looks like it signals to those beautiful pearls and then just that really nice suits. I'm going to go ahead and start sketching that with my number 2 pencil. I'm going to go ahead and just sketch in the silhouette of the ensemble first and I'm not going to pay too close attention to details. [MUSIC] That's all I'm going to do with my pencil, I'm now going to go back in now with my number 10 micron and I'm going to sketch all the lines that I want to be really bold and stand out. [MUSIC] Now I'm going to put that away and pull out my number 5 micron and I'm going to go back over where there's some finer detail that I want to include. [MUSIC] Now I'm just going to erase my pencil line and get started with my marker. [MUSIC] With my pencil all erased, I'm going to go ahead and get started on the skin tones. She had a little bit tanner skin in some of the other ones that I've done. I'm going to go ahead and just reiterate to that you want to start off with a tone lighter than you think the darkest places, or that maybe even you think her skin tone is going to be just because once you put down a dark color, especially with marker, it's very difficult to then work that back at all. Go ahead and with that and then that little peak right there. Then next I'm going to go into her hair, just got pretty dark hair. [MUSIC] Then I'm going to go back into her skin tone with a little bit darker tone so that I can convey some of those shadows. I can create some of those shadows. Remember that contrast is your friend. [MUSIC] Next thing I'm going to go into the suit jacket, it is this beautiful seafoam green. I'm going to start on that and even though it's not shiny, I'm going to try with my marker just to be a little bit. Use it more as a brush just to add some visual interest, not trying to get every little nook and cranny. The other thing with marker is that once it dries and you go back over it, you can create a darker tone with it. Sometimes you have to be careful about laying down that first coat quickly because then when you go back over it if you don't want to create a shadow there, and then I'm going to use a C9. I'm not going to use a true black because once you put down true black, you can't go any darker. I like to use a C9 or C10, which is like a cool gray nine, cool gray 10 to do black because then if you need to have a little bit of shadow on the black, you can go back in with true black and create that shadow. [MUSIC] I'm going to go back over with some of the lines with my number 10 just to create some definition. [MUSIC] Then the flower in her hair is hard to distinguish just by the way that I've drawn it, and so I'm going to actually say that it's the same color as the jacket and I'm going to go back in with the sea green a little bit and just hint to a little bit of green in there. I've got all of the basics down now I'm going to go back in with a little bit of shadow. Because this is a pastel green, actually I'm going to use a gray for some of the shadowed areas. [MUSIC] Then, now I'm going go back into the skirt with a true black and I'm going to do where there would be some contour. [MUSIC] Now is the fun part, I'm going to take my opaque pens and I'm going to go in and do the belt detail and also do the wrist detail. [MUSIC] That's my finished Chanel look and I'm super happy with the way it turned out. I think it's a great representation for the brand and I hope you had a lot of fun exploring the collections of Chanel and we're very inspired, I can't wait to see what you've come up with, so be sure to post your final illustrations in the class project. [MUSIC] 14. Louis Vuitton Illustration: [inaudible] had some time to do some more sketching and you've come back with a final fashion illustration in a walking pose and you're ready to get started on your Louis Vuitton inspired look. The inspiration board that I created is this one. I decided to go with this green and white look because I just absolutely loved the twiggy mod inspired look and I do think that this bold pattern and geometric, is definitely a little bit signature of Louis Vuitton. I also made sure to include on my inspiration board the two bags that were very popular and are signature pieces for Louis Vuitton, and I want to include those as the bags that my model is holding. Let's go ahead and jump in. I'm going to sketch the look on the right-hand side, the full dress that's got a little bit of pleat at the bottom, and then I'm going to do the one of the bags. Let's go ahead, I'm get started on the dress. It's got a relatively high color and the color actually looks like it's a little bit straight. I'm just going to leave it like that and then the shoulders have a little bit of a pop. You're going to have a seam right here and here and this shoulder piece is going to pop out just a little bit. Then it looks like it comes down pretty straight, but then ends pretty short. So it's not a full length sleeve. Then again, it's got a line a little bit and it's almost a micro mini. The way that you do pleats is basically you've got this look. You want to follow this line in, out, across, in, across. So across, out, across, in, across, out, across, in. That's a crude representation of it, but that's how you can think of pleats. It is a stiff dress. I'm going to try and keep that idea of a stiffer look as I move through my illustration. The pleats only go to roughly about here. I just wanted to denote that with my pencil. Again, I'm not trying to sketch in a whole lot of detail with my pencil. I'm just mostly trying to make sure the lines I want to capture with my pen that I'm communicating. Then she's got these fabulous shoes on, that have this crisscross detail, and then the bag that I'm going to go with I think is going to be the one that everybody saw in Mean Girls and it's got a handle like this. Then the bag itself actually comes down like this. It's going to be angled away because this end is going to be coming forward just a little bit. I'm not trying to do a perfect representation because it's a small illustration, but I want to capture the details on the bag that are very signature to the bag itself. Something like that. Then the hair again is really mod. If you're doing a face, then you'll want to add a hairline in and do something like that I think. I've got my pencil lines down again, this is just sketching out the silhouette of things. I'm not doing any detail with my pencil because we're going to end up erasing it anyway. I'm going to pull out my Number 10 and I'm going to start sketching the most important lines of my illustration. I've made her looking off to the side a little bit. Then those seams is where those shoulders pop up and then something like that. Then the bottom looks very stiff. It is very straight, even though there's some pleats, and then it looks like there's maybe seam line there. You just want to come up from those corners if you're doing pleats, that's how you can denote some folds and then her leg line like that. I love using the mixed media paper because it really gives you automatic texture. It really give you automatic interests without you having to really do anything. This is our pirate leg moving back like that. Then sketching her arm here. Getting those beautiful handles, that beautiful bag [inaudible] like that. Again, I'm not really trying to get a perfect, I'm just trying to make sure the main details are included. Hairline, and then I'm going to go back in with the Number 5 micron and do some other small details that I want to be sure to capture. Her bow and her eyes if you're doing a face, and of course I loved those lashes. Nose, mouth, [inaudible] glancing to the side like that. Then the rest of the detail really comes in the pattern. I'm not going to do really too much else to it. Make sure that it's dry and go ahead and use my eraser and erase all my pencil lines. Now I'm going to jump in with the skin and she's got a very light tone skin. You could really big setup at this point. You don't have to go along with exactly what the model looks like. You could do something completely different. Feel free to experiment and have fun again. I've said this before, but you don't have to color in every little space of your illustration. Leaving some space without color, it really adds interest and that contrast is really going to grab the eye and give your illustration more depth. The next thing I'm going to do is, I think I'm going to do the hair first before I jump into these squares. Let me get a little bit of the blonde hair going here. The green squares are really amos green or grass green. I'm going to see if I can get that color represented as best I can. Then what I think I'm going to do is I'm going to take a pencil actually and mark out about where these lines are going to be because I do want it to be that nice checkerboard look all the way down and could see it going really south really quick if I don't have some guidance. Actually, I better go. Take that one step further, and do something like that. Sketched out my squares, hopefully, that will help a little bit and then we can always go back over and erase the parts that are exposed. Something like that. It's not perfect, but that's okay because it's a fashion illustration and it's really just meant to be an interpretation. That's what I'm going to say. That's how I'm going to be. I'm going to go back over with my number 5 just to define some of these areas because I do like just as my own personal style, I like definition. Just something like that. Again, it's not like really great definition, but just enough to give that node to more of the checkerboard pattern. The other thing I'm going to do is I'm just going to add a little bit of gray and this can be a little bit tricky because your markers will bleed into each other a little bit but I'm just going to take a cool gray and just go over some of the areas that are going to be in shadow and you can look to it, your picture and see where those areas are. Of course, the pleats are going to have some of those shadows and just something like that. It's really, really subtle, but it definitely helps with adding some contrast and some interest. I'm going to go back up and do the bow and then I am going to go back into the skin and do some shadows in the skin. Just think about where your face recedes because it's rounded, and those are the areas that you're really going to focus on using some shadow in. Then because this leg is tucked all the way back, It's definitely going to be darker and be more in the shadows, and then something like that. The other thing I'm going to do is go back up to her hair, and of course, her hair is like platinum blonde I think it really is important to add contrast to illustration, and so I'm just going to go back up and add a little bit of shadow in her hair line. Then I'm also going to do a little bit more on her face. I'm going to take my colored pencils and I like to use colored pencils on the lips and the cheeks because if you do use marker, even though the skin tone is dry, it can still bleed a little bit sometimes. Do that and then just a really light blush. The next thing that I'm going to try and tackle is the purse. For the purse, because the details are going to be really, really small, they don't have to be completely accurate. I'm going to first go over the purse with a very, very light, almost white color so that it gives that node to that ivory. Then there's a trim around the bottom that is a light tan color. I'm going to do all of the marker work first. Then I'm going to go back in with colored pencil and do the design. That's all literally all I'm going to do for the bag at this point and I'm going to go ahead and take my colored pencils and do just a really quick Louis Vuitton logo and then also these little stars. The pattern goes in a criss-cross, so I'm just going to keep that in mind as I make these marks. That's all I'm going to do for the purse. I'm going to go back in now with a metallic pen. That's all that I'm going to do because it really is just this representation of something iconic. It's not an exact realistic drawing of the purse and it's so small that the details can be small as well and abbreviated. That's it for my Louis Vuitton look. I'm really happy with the way that it turned out. I think it's super cool and I think that it's fair fair representative of the Louis Vuitton brand, and I'm really excited to see what has inspired you about this brand, and I can't wait to see what you post in the class projects. 15. Hermes Illustration: [MUSIC] You've had some time to practice the walking pose and you're ready to start illustrating your luxury fashion brand look for Hermes. This is my inspiration board for Hermes and I had a hard time boiling it down to one look that I felt like embodied the brand. But I landed on this one because I think sticking to a more classic look Hermes is very classic. Also I started with a lot of leather products and there's not a lot of print. It's just this really impeccable tailoring and these details in the seams and the finishes. This is why I landed on this one. I'm going to go ahead and get started. I'm using my number 2 pencil. I'm just going to sketch out the silhouettes of the garments of the outfit. [MUSIC] I'm not going to be sketching in the bag that she's carrying. I'm just keeping that in mind. When you have a shirt that's tucked in and has some folds, you can do a couple of bumps here. This gives you that idea of her waist is smaller, it's tucked in, there's a little bit of gathering there. [MUSIC] Like that. I'm going to put my pencil away now and pull out my number 10 micron. This is a larger tip, so I'm not going to do every single line, just the really bold lines, the ones that I really want to stand out. [MUSIC] Now I'm going to go ahead and erase all of my pencil lines. [MUSIC] The next thing that I start with is skin tone and I'm actually going to deviate a little bit from what the picture shows. I'm actually going to give her a deeper, more tanned skin tone. I'm just going to start here and I don't want you to feel like either that you have to fill in every single part of the illustration. You want to leave some parts without any marker or without any color, just so that it gives that idea that they're shaped to your figure. Then I'm going to do a really dark hair. The best way to create some shine on the hair is to just use your brush tip as an actual brush and just don't lift it up as you get to the very end of the stroke. [MUSIC] Something like that. Now I'm going to start in on her clothing. I'm going to start actually with her pants. Her pants are this beautiful brown leather color. I'm going to be sure to focus on not coloring every little inch of the shape. I really want the shine to come through. I'm going to think about my light source as coming directly in front and I'm going to leave this front area, the parts that are protruding out or that's walking forward, I'm going to try not to add any ink to. [MUSIC] Now that we've finished up the pants, I'm actually going to take just a lighter. This is called light suntan and go over the highlighted areas just because the leather is not super shiny. But there is a shine to it, so I'm just going to go back over and blend some of these markers strokes. That's the other great thing about markers is that if you put a little bit more down, even if it's a different color, it's going to look a little bit more blended. Then we're going to move up to the top and the top is really pretty. It's an ivory white. It's not really a bright white. I'm going to use an ivory color and just do a little bit. I'm not going to do it everywhere because I want it to be indicated that it is white. It's just more of an ivory, so something like that where I'm putting marks in areas where it might be a little bit darker, but there might be a little bit of a shadow. Then I'm going to take a warm gray and I'm going to go into the shadow, the areas that really are going to have a little bit of a shadow. Remember too that as you're putting shadows and thinking about contrast, contrast really is your friend. If you can add contrast, it's going to add a lot of visual interest. You don't want your illustration to be flat or to feel flat and by doing a one tone illustration, it is going to feel very flat. I'm going to let that sit for a second and go back into the skin tones and do a little bit of shadow on the skin tones. Again, you're always going to have that natural shadow under the chin and then in the corners of the eyes. [MUSIC] Our hair is coming over her face. She's going to have a shadow there no matter where your light source really is. [MUSIC] A little bit under the chin, something like that. Then I'm going to go back into the shirt now and I'm actually going to use a colored pencil because the colored pencil is going to give me the ability to do really fine detail. Whereas the markers, they can do detail too, but you have to be a little bit more careful. Sometimes too it can bleed a little bit. I'm just going to go back into the shirt here and trace these lines a little bit. [MUSIC] Something like that. Then now I'm going to go back into her lip. Give her a really bright red pretty lip, something like that. Then last but not least, I'm going to go in with my number 2 micron to her eyes and just really create some definition there. I did want to do these squares on her belt line. [MUSIC] This is my look for Hermes. I hope that you were inspired by some of the things that you found through the collections of Hermes. I can't wait to see how your project turned out. [MUSIC] 16. Thank You!: [MUSIC] Thank you so much for taking my Skillshare class. I hope that you enjoyed getting a brief history on some top luxury fashion brands in the world, and I hope that you got a chance to really up your game in fashion illustration. Be sure to post your projects in the project section because I love seeing what fashion inspires you. Thank you again, I hope to see you in my next Skillshare class. 17. BONUS: Bloopers: It was a French. If you want a little bit of fashion [NOISE] duration, I hope does. [MUSIC] In 1821. No, not in 1821. [MUSIC] I just got to delete that one and start over. He really revolutionized. Revolutionized? In 19, no. [MUSIC] I rather be outside right now. [MUSIC] No way. Wait, I got to to get through this somehow. I can do it.