Transcripts
1. Introduction: When it comes to
designing a character, a well drawn outfit
can be just as expressive as well
in expression. By learning a few simple
ways to illustrate fools intention that make
clothing come to life, an illustrator is able to bring more personality and motion
to their characters. Hi. My name is Ira Mark. I'm a graphic novelist, and I spend a lot
of my time drawing characters in the
clothing that they wear. Today, I want to share
with you six simple bite sized lessons on creating
very common clothing items. By setting aside a
little time each day to focus on one
of these lessons, within a week, you'll
be well on your way to drawing your own
stylized clothing. As a top teacher here
on skill share and creator of nearly 20
classes at this point, I know character design can
be an overwhelming topic. That's why I think
it's really helpful to focus on a single subject,
like clothing design. It's a great way to build some technical skills and also level up your creative process. Alright, fellow illustrators,
grab your sketch books, digital or
traditional, and let's create some outfits that fit.
2. Overview: Thanks for joining me here
today. Great to see you. I'm really excited
to share with you these important principles
on clothing design. Things I honestly wish I
knew years and years ago. And I know clothing
design can be a big, complicated topic, like
anything in illustration. So I wanted to do my
best to boil it down to a couple simple
principles that we can recall every time we sit
down to draw a garment. And those two principles
are attention and fold. And we're going to look at
those over and over again and apply them to different
styles of effts. Once you understand
these two ideas, you'll be well on your way to drawing outfits that improve your character illustrations
visually and narratively. Now, like all my classes, each chapter is
going to lead you line by line through
my drawings. Together, we'll review the
most common clothing items a character might
have in their closet. Each chapter is not only a technical breakdown of
a particular garment, but it's a lesson in utilizing tension enfold in
visual storytelling. So how can you participate in this class? It's
pretty simple. First, I recommend
watching, listening, doodling, and taking notes
along with the video lessons. Once you've watched
the whole class and absorbed the basic information,
I recommend going back, setting aside 15 to 30 minutes each day to focus on one
of the six chapters. Use your sketch pad to practice your illustrations
at your own pace. And once you practice all the different styles of garments, you'll have nearly a full week of creative routine
on this one topic. And that amount of
time is actually just enough to start to change your creative process
in your mind, and therefore in your hand. You style will evolve as you absorb some
of these techniques, they'll become second nature, and it won't be so hard to
implement these new concepts. So a week with this topic is a great way to get a
foothold on these big ideas. Since this class is
all about building some technical skills and not creating a
finished piece of art, when it comes to
the class project, I want to make it super easy for you to
post some work and get some constructive feedback from me if you're
interested in that. So, all you have to do is create a simple drawing of a
character wearing an outfit, inspired by the class. The illustration can be a full body portrait or just
the upper part of the torso. You can work in color or in black and white.
It's up to you. No class project is ever
really set in stone. You're always welcome to
go in and update the post, and I'll get a
notification about it. So as you build on your project throughout the
course of a week, a month, however long, you're able to set aside time to focus
on clothing design. I'll be checking in
regularly to C cheer you on, see how you're doing and offer some feedback, whatever
you need from me. Now, let's talk
about some resources that come along with the class. To help you stay focused
on clothing design, I've created some
templates of body types, and they play two roles
in your class project. One, they're going to give
you guidelines that help you track the shape and
form of the human body, as well as points of
tension for your garments. Things you might not
necessarily know, even if you have a little
understanding of human anatomy. And the second use
for these templates is to draw right on top of them. You can print them out
and draw over them or import them as a separate
layer into your drawing app. Whatever lets you focus
on clothing design. I know we're coming at this from all different artistic level. So if character, anatomy, and proportion and
things like that, plus clothing design
is too overwhelming, feel free to draw right on
top of these templates. Posting your work,
posting questions in the discussion tab right next to the Projects and Resources tab, these are the things that
bring this class to life. My videos are just the
starting off point. It needs to be a conversation. The things you make are going to inspire me to cover
topics in my next class, other students to create
their own work and share it, it becomes a community, right? And I think that's a
pretty cool thing. So share away, and I'll be
there to chat with you. Okay. All that said,
Fellow illustrators, it's time to get drawing.
3. Chapter 1: Tension & Fold: The first step in
learning to draw expressive clothing
is to understand how fabric tension is created. Fabric tension leads to folds and folds
express character. Pretty straightforward. Now let's start by looking
at a single point of tension just to see how fabric interacts
with the surface. Imagine you're
standing in front of a clean white wall with
a nail stuck in it. Now let's take a shoelace and
drape it across that nail. See that peak that
happens when the fabric stretches away from the
nail. That's fabric tension. Fabric tension is
the expression of an adaptable material interacting
with a solid surface. Now let's add a second nail. Between these two
points of tension, we see the shoelace
starts to drape. This is an example of
a very simple fold. Now our shoelace begins to
feel capable of expression. Okay. Let's add a third nail. By adding a third
point of tension, we start to understand
the shoelace even better. We understand its weight and its structure by the way it
interacts with the nail. And different shoe laces
made of different materials, will respond to
these three points of tension in different ways. This ability to react
to environment, that's the essence of character. And if you're like me
and believe that adding expressive character to
even the simplest form is the ultimate goal
of any illustration, we're already finding
success in our process. Now, let's set aside
this shoelace and move on to something
with more surface area. How about a simple silk scarf? If I draw the scarf like this, it looks like it's
laying flat on a table. There's not much opportunity
for character here. So Let's hang it on the
wall from a single nail. When we draw the
scarf now, first, we want to illustrate the
outer edge of the scarf. Then we draw some simple lines converging towards the nail. These lines represent
the folds that happen when the scarf
falls in on itself. The weight of the material
responding to gravity. This expression is made much
more clear by illustrating the other edges of the scarf
with simple step like folds, and we can add even
more depth with some shading on the
innermost folds. Here we have the core of
this creative process. This is the thing we're
going to do over and over as this class goes on and gets
a little more complicated. But it always comes back
to this one basic idea. First, establish a
point of tension. Second, show the folds that emerge from that
point of tension. Let's bring in that second nail. Two points of tension
have been established. The silk scarf is given a bit of slack between the
two outer points, and this allows for folds to
sweep across the surface, zig zagging from point of
tension to point of tension. The zig zags become tighter, the closer they are to
the points of tension, but they spread
out and eventually dissipate as we move
further down the scarf. To see these folds, it's often helpful to illustrate
them as triangles. That way, the character of
the scarf is very clear. But if you want to be more
subtle with your line art, you can reduce this
triangle shape to just a simple
shading technique, like I'm doing here
with this hatching. Now let's move
these two points of tension closer together
and see what happens. The scarf must respond. Again, we are evoking
its character. Now, with more slack, the points of tension
are more forceful and the zigzag more
swoopy than sweeping. Now, this specific
piece of fabric I'm illustrating has particular
qualities about it. Silk is light and airy, but other kinds of fabric
will respond differently to tension and create their
own unique types of folds. To study different materials, I recommend looking at still life paintings as those reveal the nature of fabric
and how it can play a very expressive role in any
illustrative composition. Now, in this class,
we're focusing on the subject of clothing. In these examples, we see
that the character of clothing supports the identities of the characters who wear it. Creating a sense of
story helps us create structure for our
illustrative choices and narrow our options, thus making our job
a little bit easier.
4. Chapter 2: T-Shirts: First piece of clothing
we're going to study is the basic T shirt. So let's look at its parts. It's anatomy, if you will. And thanks to the help of these little pinkish
dotted lines, we'll figure out how the parts of the shirt relate
to the human form. Okay, shirt anatomy,
begins with the collar. The collar set between the front and back
panel of the shirt, and it tilts slightly forward, creating an oval
shape for the neck. The shirt is made
up of two panels, and along the top
edge of the shoulder, you'll see these two
symmetrical lines sit at the peak of the shoulder. And if the shirt fits right, these panels will terminate at the far edge of
the shoulder itself. The sleeves are short
because it's a T shirt, and these arc lines represent
the seam of the sleeve. And now let's look
at the parts of the body that fit
below this shirt. Even though we can't
see these things, they are very important
to understand as we plan tension and
fold in our shirt design. So let's know where the
waist of our character is. It sits somewhere in the
lower third of the shirt. The waist is a part
of the torso that contracts and expands depending on your character's body type. And this line that
represents the chest is kind of the outer
point of the chest, and it sits right between the bottom seams of the sleeves. Again, this area, like the wait, can expand and contract, and the seams are two very
important points of tension. The shoulders are also
another point of tension, though it's not quite as strong. And often it's good
to know the length of the shirt because it can affect the overall
weight of the garment, and therefore change our
tension points and our folds. So with this basic understanding
of T shirt anatomy, let's grab our human templates and put some shirts on them. I'm going to work from
left to right here, so we're going to start
with a full front view of a T shirt on this figure, working from the collar, shoulder seams, sleeves
to the front panel. When drawing the outer edge
of a piece of clothing, it's important to convey the roundness of the
form with this kind of edge of a cylinder type line that you see on the
bottom of the collar, the sleeves, and the
main panel of the shirt. This T shirt has a fitted cut, meaning it's designed to show off kind of subtly the
curves of the body. Therefore, the
sides of the panel, come in just a bit
right at the waist. Now let's talk
about the points of tension and the folds
that come from them. Tension happens at
two distinct spots creating two distinct
types of folds. First, as I mentioned earlier, we have tension at the
bottom seam of the sleeve. This is the strongest
point of tension. And these folds spiral out
from these points of tension. Thus the name a spiral fold. You'll notice just so slightly, they curve around the sleeve. And if you were to
follow them up, they would curve kind of
like a barbershop pole. It's important to remember
that word spiral. If you just draw them as
a single dashed line, you'll imply a flatter surface, and you don't want that
if you're trying to convey the round
form of the figure. Now, if your character
has a larger chest, you can simply expand these spiral folds and
stretch them out further. The next type of
fold occurs due to tension points across
the front of the chest. Now, above the chest line is smooth fabric that comes down from that top
edge of the shoulder, straight across the chest, that's generally a smooth area. But once we come across the outermost point of
the chest and go down, the fabric hangs in what's
called a pipe fold. Unlike the zigzag folds, we saw in the scarf early on, the pipe fold is
generally linear. They go straight down.
Think of it a bit like a pole with a
curtain hanging on it. Though there's a little
bit more ebb and flow. The term pipe fold recalls
a cylindrical form. And if you want to add
shading that evokes that, you can go ahead and do that. But I'm just using
some simple lines to evoke a sense of shadow. On the topic of line, it's important to consider
your choice of line, and in fact, how many lines you choose to use to
represent tension fold. As illustrators, we
know that leaving out detail is as important
as adding detail, and it's up to you to find the right formula for
your own distinct style. I lean toward simplicity, as my work as a comic
artist requires me to draw characters over and over
again to complete a project. It's never just one
drawing of a character. So instinctually, getting
caught up in details is kind of against my
nature because it can really slow down my process. Therefore, I have a practical
reason for simplicity. But it's also true
that when working with heavy line art,
like I am here, these black heavy lines, implying just a few
moments of tension unfold, make for a better composition overall because we don't want to draw focus too far away from the main
story of the character, which is seen in the
character's face. So while we're focusing on
clothing design right now, you don't want to
overdraw your clothing when applying this to
an actual project. Now let's move on to the three quarter view
of this character, and we're going to
swap the shirt. Instead of the
fitted shirt, let's try an oversized T shirt. The shirt is a lot longer, and therefore, a little heavier. And you'll see how it affects the tension and
folds in the design. In this three quarter view, you want to notice the length of the sleeves are
closer to our elbows, and also our shoulder seams drip down over the actual
shoulder of the character. And I can represent these
with some very simple lines. Sometimes it's useful to
see where the seams of the fabric fall because
they can kind of tell you a bit about the character
and the fit of the clothing. When we have a garment
with excessive fabric, we sometimes see what's
called a half lock fold. So in that seam that
goes underneath the arm, right at the edge
of the chest there, instead of just
some spiral folds, I've got this half lock fold, which curves back on itself. It's when a bit of
fabric bunches up and an overhang happens on
the bottom of the fold. And below the chest, on the main panels of the body, I exaggerate some of those pipe folds and make them almost more triangular
in their shape, because I imagine
this garment with all its excessive fabric kind
of flowing outward a bit. I've also got a couple of
my folds ebbing and flowing as if the shirt panels reacting to the
character's hip line. You'll notice I'm adding stripes to the shirt
here to show how anatomy affects all aspects of the fabric, how it stretches. Notice the curve of the
stripes is dictated by this crossing over that
horizontal chest line. Now, before we move on to another body type and
try some other shirts, let's mark our folds
and tension points. So we get a sense of where these elements are concentrated and how much of the shirt
they do not affect. You see that most
of the sleeve and that front panel are open. Back to a front view
of another body type. So just for more variety
and to try some new things, I'm going to change the
style of shirt here. I'm going to add a tall
collar that arcs up. You notice that arcs
the opposite way of the bottom edge
of the collar. And I'm going to
tuck in the shirt at the waistline with a
pretty aggressive tuck. This is a tight tuck, so it creates more tension and folds along the
front of the shirt. You see some very
subtle lines coming closer to the main
front of the pants. And you also notice this
character's wider chest creates more folds that pulled down towards the
bottom of the shirt. Now, we'll bounce over here and try this three quarter view. I've added a couple
extra lines up by the collar to just show a
little bit more attention. Again, notice the
weight of the lines for the folds is a lot
lighter compared to the lines that represent the
silhouette of the character. It's almost like
you're just implying folds and tension points. And then our familiarity with those features fills
in the blanks. The blue horizontal stripes will also remind you that
creating a pattern across the fabric is another
way to enhance a sense of form without adding a
lot of black line art. So next time you put a
T shirt on a character, here's some things
to think about. The fit of the shirt. This can change the
weight of the fabric. A bigger baggier
shirt gives a looser, more casual feel than
a fitted T shirt. Tucking a shirt in can imply a fashion sense
or a bit of formality. It also could imply an
era of clothing style. While any of these
traits are not exclusive to one character type, it's a way to change someone's perception
of your character.
5. Chapter 3: Button-Ups: T shirt covered a lot of the
basics of tension and folds. So with the button up, we'll look at specifically what makes this garment distinct. First, the sleeves are longer. And just for the sake of understanding the
design of the shirt, I've twisted the
sleeves around just so you can see the button cuffs. Collar is different
than on the T shirt. This is a raised collar, meaning it has a
separate piece of fabric stitched on that
makes it vertical, and then has a
fold over the top. You've seen a collar shirt. I don't know why I am
describing it so specifically. And also, don't
forget the length of the shirt is extra long so it can be tucked into a nice pair of pants.
And don't worry. We'll get to designing
pants pretty soon. Our lovely models have
returned, as you can see, and in this front view, I'll draw out the overall
shape of the button up shirt. I'm looking at this
as if it's kind of a workplace uniform style shirt. Therefore, this is my attempt to express the characteristics
of the fabric. A T shirt is often
made of soft cotton, but a button up is usually more formal and can have a
stiff, starchy look. So the overall silhouette of this shirt is a
lot more angular. The folds are a bit
sharper, more abrupt, and the lines towards
the points of tension are longer,
straighter, and cleaner. Notice how I illustrate
the sleeves. They crease at the elbow
showing evidence of movement, and they have these
new little points of tension right where the sleeve
is stitched to the cuff. A fitted button up is
likely to be an iron shirt. So it has an overall
smooth look, but it gets wrinkled
very easily. And any creases that come from movement stay with the fabric. We're seeing a return
of the zig zag fold here at the front of the shirt
where it meets the pants. This is evidence of a long day sitting at a desk
hunched over a computer. And now in this
three quarter view, let's say, Our character has moved into an
after work setting. They're getting a
little more casual. The top button of their shirt
is undone. A sure sign. The things are relaxing, and the character's
sleeves are rolled up. While softer fabrics,
like a T shirt might have those spiral folds
I talked about earlier, a starchy shirt is going
to make some zigzags. Again, the hard angles of the folds show off the
structure of the fabric. And while the area above the
chest up to the shoulders, holds the shirt stiffness, the fabric below is showing off this day of motion and movement. It feels like a more
bottom heavy design. You can see gravity at play
in this three quarter turn. So for that character, we've seen the office space attire, so let's head out west with a
more cowboy flavored shirt. Giving this shirt some
similar stiffness, but we're going to add
an extra design element. These pointed panels
are called a yoke. A detail or two like this, a stitched panel, a row of buttons with
seams on the sides. These elements can
tell us a lot about a character without us
having to say anything. So for every garment
style you learn to draw, you enrich your
visual vocabulary, and that's never a bad thing. Now, consider how different these two shirts look each
time I've drawn them. In one version, they seem fresh and clean
with a strong tuck. In another, that tuck
might have been loosened. So this is a good time to point out something
about clothing. It's capable of conveying
the passage of time, an important aspect of
character based storytelling. A character's workshirt at A at AM can look a lot different than a character's
workshirt at 8:00 P.M. Folds tell a story. Now, do you need to always
tell a story with your folds? No. It's a choice you have available to you as
the illustrator. And I consider it
part of the job to be able to know these
choices are possible.
6. Chapter 4: The Hoodie: The more casual side of things, we have the iconic hoodie. The hood itself is
a single panel, though some hoods
can be two or three. I'm doing the single
panel style hood. And the hood is sewn
to a whitish collar, a little wider than you
would have on a T shirt, definitely wider
than the button up. And the hoodie is kind of
a one size fits all item. It's oversized and
structureless. The sleeves are long and roomy. The front panel
is also extremely roomy with a nice pass
through pocket on the front, and both the sleeves and front panels are
pulled taut by cuffs. That make the main parts of
the fabric mushroom out. Let's talk about
materials again here. So I'm imagining this hoodie
is made of a cotton fleece, and a fleece is a
more rugged, outdoor, still cozy, but heavy
duty type of fabric. Being a thicker material, the folds are going to be wider, less intense than
the button up shirt, and it's going to
show off more volume. With this first front
view character, I'm going to start with
the hood down look. The hoodie itself
brings a lot of attention to the upper
part of the garment. You've got the draw
strings, the hood, the laying of the collars. Make sure the hoods
fabric feels hefty. You want to create
tall rolls behind the head that curve
around the wide collar. And because the collar
itself is wider, I like to show off whatever
is being worn below, in this case, a T shirt. Now, as we place the rest of the hoodies panels and
sleeves across the body, we first note that the seams of the shoulders fall
way down the arm, showing off that one size fits all aspect of this garment. And that also means that the excessive fleece
fabric is going to bunch up at the cuffs. And we see we've got half
locked folds at the seams of the sleeves and kind of broad zigzag folds down at
the cuffs by the wrist. Practicing drawing a hoodie
is a good opportunity to address the role of weight in
your character's clothing. The physicality
of a subject says a lot about who or what it is. And the heft of
the hoodie really can give it a cozy,
weighty feeling. Your hoodie should
feel soft and droopy. It's a completely
different energy than what we saw in that
fitted button up shirt. On this next model, I'm going to bend the
character's arm to give you a better look at how the
fabric interacts with motion. Notice the way the sleeve hangs on the arm creating
new points of tension. We've got a very
loose zig zag fold occurring on the top
of the arm while the extra fabric drops below. This is a great
reminder that it's important to be
able to see through the fabric and
understand the pose and structure of your
character's body below. This can help you decide
how the fabric reacts to the body language
of your character. Let's go even further. I'm going to modify the pose of this other front view character to have them have
their arms crossed. You're welcome to join along with these new
poses, if you want, or you can keep your character's arms
at the side if you're still trying to figure out the character
of your sweatshirt. But again, I'm
still going through the very simple set
of rules of creating points of tension and showing
how folds evolve from that. Here we have some points
of tension at the elbows, some half lock folds, and the droopy sleeves. And I'm going to raise the
hood of this character. The hood takes on a
water droplet shape with kind of a blunt point of tension here at the
top of the head. The fabric needs
to frame the face, not obscure it too much, and it's going to pull
downward around the face, and it almost starts
to drape over the shoulders if it's one of
those extra large hoodies. Again, we have a chance
to play with learn. I'm going to draw the
collar below the hoodie and even add some shadow behind the head to create a
greater sense of depth. And in the three quarter view. The head actually starts to emerge from the
hood a little bit. Again, my goal is always
to make sure the face is very clear and present because that's the key to
my storytelling. So I pull the hood
back a little bit. In case you're going for a more mysterious type of feeling, then you're going
to want to pull the hood down more
over the face, obstructing some
of the features. I'm a fan of drawing the hoodi. It's a fun challenge
to work hard to create something that feels
so loose and comfortable. Now, speaking of loose, we're going to get even
looser in the next chapter.
7. Chapter 5: Poncho & Skirt: Now, I don't feel like we've given the pipe fold it's due, so we're going to look at
two garments that show off the character of that particular fold
in all its glory. We've got a poncho here to
start, a simple garment, a single piece of fabric with a hole in the center,
kind of like a doughut. Where a character can
put their head through. We have two broad points of tension here
at the shoulders, which will create long
flowing pipe folds. How large is this
poncho exactly? It's basically just a huge shirt without a lot of stitching. It covers down to the
length of the torso. Feel free to make your
poncho as big as you like. We've looked over a lot
of upper body garments, so let's take a look at
a lower body garment. A skirt is also a
single piece of fabric with a hole in the middle,
kind of like a bagel. But instead of shoulders, we have a fold at the waist that creates a bunch
of points of tension, pleats, you could call them. This torso will give form to
these draping pipe folds. The poncho, depending
on its fabric, will be made up of
different sizes and quantities of pipe folds. We use step like edges to show
the border of the fabric, like we did with that scarf
in the first chapter. But a poncho is a
heavier fabric. So I'm only going to be
illustrating six folds across the character's
chest here. They're smaller in
the back and layered up to form like a single broad roll
across the chest area. Adding more would imply, like a thinner cape
like material. It would be too
much flexibility. I want this poncho to feel thick and a little
more substantial. And like we talked about
in the T shirt chapter, the upper part of the chest and the broad areas of the
shoulder are smooth. The poncho hangs over the character without any
restrictions on movement. So even a stationary pose implies a bit of motion as
the fabric dangles below. Now, without having a
pattern on this design, my poncho runs the risk
of looking pretty flat. So notice I exaggerate
the collar a bit to remind us of the curve of the
chest below the material. Now let's look at a skirt. This garment really lends
itself to form in motion due to the density of tension
points around the waist. To create a round feeling, make the top parts of the fold denser around the edges and space them
out towards the center. In this three quarter
turn, let's have some fun. We'll show off some motion, and let the pipe
folds almost become spiral folds as the
character twists and turns. Notice the bottom edge of the fabric lags behind
the upper part. Loose fabric and the pipe
folds that emerge from it are a great way to
characterize motion.
8. Chapter 6: Pants & Shorts: Okay, we're deep into
the class at this point. So I feel like I can admit
something to you all. I'm afraid of pants. I'm not afraid of
pants in the way that little bear from the doctor Sue story is
afraid of pants. I mean, I'm afraid
to draw pants. In fact, the whole reason I
wanted to make this class on clothing was so I could get over my fear
of drawing pants. Every time I went to
draw pants in my comics, they always felt totally flat. And I realized the problem was, I didn't have an
understanding of the anatomy of the
pants as a garment. That strip of fabric that
sits right below the waist, the design of the
four panels that go around the torso,
down the legs, how to do pockets, the offsetness of the zipper
flap belt loops. Pants. They are complicated.
And here we are, finally figuring out what pants look like in overcoming that fear. Thank
you for joining me. Okay, let's look at the
tension points on pants. They exist here
between the waist, hips, thighs, and knees. This is the reason I've
saved pants for the end. There's just a lot going on
in a very concentrated area. But if we focus on defining these points of tension,
we're going to be all right. There's also some other subtle
things going on in pants. There's either a taper
or a flare in the leg. For this first character, I'm going to use
a tapered style. Now, I did consider a topless
look for this character, but we want to keep this
all, you know, g rated, so I settled on a
tank top or, like, a fitted, sleeveless cotton
T shirt with a tight tuck. To show off some of
the skills we've developed throughout this class. Hopefully, now you're capable of some variations that go
beyond what I've shown you. Mix and match folds and tensions and fabric styles
and different cuts. Have some fun with this. Alright, let's get
into the pants. Let's assume these pants
are a classic structured, skinny legged denim gene. They hold their shape,
which is to say they're narrow at the waist, a little wider at the hip, and not too much wider, and then they taper down the thigh. To the narrowest point,
which is at the cuff. Our uppermost points of tension are the outer
edge of the hip. So that means here
below the torso, where the fore panels of the
legs of the fabric meet. We have folds that are
kind of like spiral folds, but they stretch straighter. They emerge from between the legs and go out
around the thigh. And you don't see them too far because the hips are
pulling the fabric smooth. That said, we might see a bit of bunching below the hip depending on the thickness and musculature
of the character's legs. If we follow the
silhouette down the pants, things remain smooth
across the thigh, but then we have tension points
emerge again at the knee. And like when we talked
about the chest area, There's a smoothness,
and then right below, there's the folds. In this case, these
are zigzag folds, that will appear
much more zigzaggy on a bag ear type of pant. So let's show off some more of these zig zag folds in
the three quarter turn. I'm going to keep these
pants fitted at the waist. But instead of tapering, they're going to
flare out and bunch up at the bottom, so
they're extra long. And I'm showing the
zigzags through those triangular fold lines
that I've been using. Again, this represents
the shading or shadows. See how the folds collect
at the bottom of the pants, and they work their
way up and thin out, and then they start
it right below the knee and then
work their way down. Folds are never spread
evenly across the surface. Those are called wrinkles. Folds always gather in bunches. Well, we've solved
the problem of pants, let's move these on over
and draw some shorts. Like the pants, we have a waistband that's an
independent piece of fabric, meaning there's potential for pleats right at the waist line. And these are going to be
a retrofit type of short, and they end right
below the hips. And to give them a
bit of character, we'll add draw strings, pockets, and stripes
down the legs. Alright, now, let's look at
our athlete who is sporting a three quarter sleeve
jersey. Very cool. Notice how I use elements of the shorts stitching and piping, which is the stripes down the side that curve
around the bottom. To emphasize the form of
the character's body, the stretch of the waistband, the curve of those draw strings. Every visual element of
a piece of fabric has potential to explain something
about the character. And I feel like the Oakleys
this character is wearing, really say a lot about them. Let's pose these characters with bent legs so
that way we can get a better sense of how
fabric on pants moves. Notice the bent leg
reveals something new about the form of
the character's body. The point of the knee
creates tension, and we see the folds
emerge in two places. A half lock fold
emerges behind the knee and a simple pipe fold
forms down the front. And like the sleeves earlier, the fabric of the pants
hangs below the leg. And if the fabric
is flexible enough, it'll reveal the
shape of the calf. Now, there are 1 million
other ways we could continue this lesson on
fabric and clothing. But I think it's time we take all the stuff we've learned
and create a class project.
9. Wrap It Up!: All right, thanks again
for taking my class. I hope you had a good time,
hope you learned some things. And I encourage you to download those templates that
I've been using throughout the class and post some work in the class
project section. Share your thoughts and
discussions, post some comments. I'll be there the
whole time to have this conversation
with you on what makes a good stylized outfit. Now, if you've enjoyed
my teaching here today, you're in luck because my
skill share channel features 20 odd classes on topics,
similar to this one. Other aspects of character
design, cartoon art, comics, like sequential
art, narrative art, visual storytelling, and then just some basic
illustration stuff. There's even a class on
drawing maps because why not? Maps are cool. So all that said, I hope to see you in another
course sometime soon. And remember, keep drawing.
