Drawing For Complete Beginners - Clothing Made Easy

1. Introduction: Drawing clothing characters can feel like a real challenge, especially when you're still in the early stages of your drawing journey. Yet, this is also one of the most fun parts when it comes to designing your characters. Hi, I'm Pan Asia, I'm illustrator and concept artist. And with this course, I want to give you a simple approach to handling clothing, so you get the fundamental principles without overhand, and you can start having fun with it. This course is the fourth course of a series called Down to draw from beginner to Advanced Skills. The first course is being in order, how to draw faces, how to draw anatomy. How to draw hands. My goal with this series is to give you just enough fundamental knowledge to kick start your dream journey by helping you develop a simple functional style first and teach you how to complexify it step by step. Like this, you can start expressing your ideas quickly and build upon your basis to achieve your art goal smoothly. In today's course, we'll start by domestifying clothing by summing it up to extremely simple shapes before seeing how it sits on the body, what is the logic behind the shape and folds? So you'll have enough knowledge to start experimenting with it by the end of the class. Now, if you're ready, let's get started. 2. Project: Project for this class will be to follow along with the exercises I give you at the end of each lesson. These exercises are designed to make you feel and remember each point we will see during the video one by one and shouldn't take more than 15 minutes of your time in total. I put the references on the mannequin I use in the resources section so you can draw over. You can use the transparent PNG if you're on digital art or print the other version and draw over if you're drawing with a pencil. If you want to remove the lines of the model, when you draw over it, you can just use some white gel pen or any correction fluid that you have at home. If you don't have any, don't bother removing the mannequins line. Just draw over it and leave it like that. Don't worry if the result is not clean. The exercises only serve to train your muscle memory, so you can apply it to your own drawings afterwards. Alternatively, you can, of course, also draw the mannequin yourself or trace mine. At the end of the class, feel free to share your work so I can give you some feedback and help you improve. Now let's jump into the lessons. 3. Basic Structure: We are going to start with a very simple concept just to domestify doing clothing. Basic clothing can be simplified in extremely simple shapes, and we are going to see what it looks like right away. Let's start with a simple shirt, for instance, and let's imagine we lay it flat. We could start with a rectangle and stick two small rectangles on the side like this and then draw a simple circular shape like this to represent the color. And here you have a simple shirt. Now same for the pens, we could start with a little rectangle like this and then stick two long rectangles like this to that first rectangle and just erase the lines and here you have a pair of pens. That's very simplified, of course, and there will be a lot of variations to this. But it's just to give you a starting point. Now I'll see quickly a few other examples. A skirt could be represented by a simple trapeze. For a tank top, you could draw first a rectangle, then stick two small rectangles on top and erase the line and if you wanted a dress, for instance, you could stick that traps shape with the tank top and you would have a dress. We will stop here for the very simple examples, but remember that each time you want to draw some clothing, the shapes of your clothing, when laid flat are just variations of very simple shapes like this. So to recap when drawing clothing, even when they are going to get more complex than this, remember that you can always simplify them into very simple shapes like this as a first step. Now it's your turn. Start by drawing the simplified clothing, as I showed as examples. So a shirt, some pans, a skirt, a tank top, and a dress, so you can get the first feeling of it. During the next lesson, we are going to start seeing how the clothing behave on the body by talking about the thickness of the cloth and the overlaps. See you in the next lesson. 4. Thickness And Overlap: In this lesson, we are going to focus on the thickness of the clothing and how it overlaps. But before diving into the heart of the lesson, we'll just make a quick point about clothing in general. So clothing will be submitted to several constraints. And to start easy, we will focus on three constraints for now. The first one would be gravity. So by default, the clothing will be pulled towards the ground. Then there would be obstacles. Most commonly, some parts of the body will stop the clothing from being pulled toward the earth while other parts will be loose when there is no obstacles and will be pulled by gravity. Then there is the fabric because every fabric won't look and react the same. But to begin with, let's put all the intricated flow aside and imagine our character is wearing tight clothing that is entirely close to the body. So gravity won't matter much in that case. Let's see what it would look like. The obvious would be to determine where the clothing starts and stop. Here we can imagine some sort of fitness garment with some tight tops and leggings. The first thing that you need to pay attention to here is how I draw the clothing like it's sitting on a three D shape, it's not a straight line, but it's really wrapping around the volume of the body. Then what you need to consider is that the clothing will add a layer of thickness on top of the body, and here you need to be mindful about the actual thickness of the cloth. For that type of garment, the fabric tends to be fairly thin. I'm just adding thickness in a very suble way, and I'm mainly adding it at the edges of the clothing just to mark that separation in between skin and clothing. But otherwise, I just consider that the clothing is tight enough to follow exactly the shape of the body. I don't want to break its shape, so I'm letting it just like this. Look at what it can look like when it's wrapping around the body. We're seeing the thickness from slightly above the waist of the pens here. You would see the actual thickness of the fabric wrapping around against the body and the external part of the thickness, if I can say like this, going behind the body, which is why you can see it creating that type of shape. For the bottom of the legging, I'm just considering that the hem is creating a little bit of a curl to give a little bit of movement to the line. And then I'm just cleaning my sketch by erasing the lines of the body that is hidden by the cloth. Now, let's see how we could handle some thicker clothing, like a sweater, for instance. I'm going to draw on top of the previous sketch so you can see the difference. So I'm going to start with the collar that will behave the same way as the pens. So look, I'm drawing the inside part of the collar and I'm leaving a gap and draw the part of the collar that goes behind the neck. And the gap in between the lines shows the thickness of the fabric. I hope my example is understandable. Make it clearer. If I had to draw the color antioly without the character to block the view, that would look like this. This is how the back of the color would look. Even if you don't actually draw it, you still need to imagine the prolongation in between the two sides of the color to make sure both sides are in prolongation to each other. We could imagine that there is some seam on the shoder area that could make that type of gap. But the main point here is look how I actually represent the thickness on top of the body this time. As a sweater, even if it's tight, will occupy quite a lot of volume on top of the body. The other thing worth mentioning is that clothing will overlap on top of each other. You will have to take the thickness of the other pieces of clothing into consideration as well. And, yeah, I'm just refining, so I'm just taking that opportunity to say that it won't look perfect on the first try. So the process of actually making it pretty is simply spending some time. To actually refine simply. There is nothing more to it. And yeah, one last thing is that check the symmetry of the cloth. You want things to land in a cohesive manner on both side of the body. So to recap, determine the shape of the clothe by deciding first where it starts and stop and make it symmetric when relevant, of course, and mind the type of fabric to determine the thickness and represent it accordingly. Now it's your turn. Follow my example and copy the same clothing as the ones in the course and try to apply what we saw. You can find the drawing reference in the resource section, as well as a blank mannequin that you can print or use the transparent PNG format to use for digital art. During the next lesson, we are going to see how looser clothing works and we are going to focus on contact points and gravity. See you in the next lesson. 5. Contact Points And Gravity: In this lesson, we are going to start to see how looser clothing acts on the body, and we will start by focusing on contact points and gravity. We won't use any reference for now, but we will use the basic clothing we imagined during the first lesson and see how it would behave on our mankin just so you can understand the logic behind it. So even if our mankin has a pretty standard standing position, there is a little bit of movement in its posture that will help us understand how clothing behaves on different ways. We will start with our basic pens. Let's imagine this will be a rather loose pair of pens to distinguish it from the legging from the previous demo. So the first thing that you need to consider is that it is attached to the waist. And this is that attach that is preventing from falling to the won basically. From that attached point, the fabric will try to go as straight as possible toward the ground due to gravity, but it will meet several constraints and obstacles. The first obstacle will be the heap. Here, the fabric would want to go from the waist to the ground, but as it counts, it will follow the shape of the heap. Then once it went over the warmness of the heap, there is no more obstacles, so the fabric will fall straight directly to the ground. And on the other side of that leg, there is no particular constraints, so the fabric falls directly to the ground. Now, on the other leg, the fabric will again try to pull all the way down towards the ground, but because of the angle of the leg, the leg will be an obstacle to gravity all the way down. So what will happen is that the fabric will lay onto the leg instead. Now on the other side of the leg, there is not much constraints, so the fabric will try to go in a straight line toward the ground. But what will prevent it from falling completely vertically is the width of the pens. So that line will simply join the bottom of the pens at its appropriate width. Be careful to match the width of both legs. And once you're happy with the basic structure, you can just clean and be fine. Now let's see how to handle the shirt. So here, again, you need to first consider what retains the fabric from completely collapsing to the ground. So this will be basically the top of the body, so the shoulders and the collar that can also meet some resistance. So the first thing we'll need to handle here is the sleeve, and this is pretty similar to the pens before. The fabric will try to go straight towards the ground as much as possible. But here we have the arm that prevents it from falling. The fabric will follow the shape of the arm. And then on the other side of the sleeve, there is nothing to retain, so it will fall as straight as possible toward the ground. But it will again be retained by the width of the sleeve. And then the sleeve is not a straight line, but wraps around the arm again. And here as our mannequin is not in a straight posture, you need to check the alignment of the shooters to align the sleeves. So the sleeves should be parallel to the shoulders. And for that sleeve, it falls right from the shooter without any resistance. So this time it falls pretty straight. Now for the body of the shirt, it would want to, again, fall straight towards the ground. But here we have the heap that will create a barrier. So what will happen is that the fabric will create some compression in walls, and you will have an excess of fabric in this area, which is why it creates some folds like this. We'll see more about folds in the next video. But for now just try to focus on the silhouette of the folds. And then again, the hem of the shirt will be pulled by gravity, so it will go down and wrap around the character to join the other end of the shirt, which is what creates that wavel shape. I'm even going to make it a little bit more dramatic, so you can see better. And then, again, when you're happy, just correct and we fine. Now, let's try to draw the dress. We'll consider it as a pretty loose dress, but attached at the waist. So I'm just starting by placing where the clothing starts and ends. Okay. So here is going to be fairly similar to the shirt, which means the fabric will try to go down straight to the earth, but will meet some obstacle in the hip area and will create some compression folds in that place. And on the other side, the fabric won't meet any obstacle again, and it will fall straight, and it will simply met the attach at the waist. But you can see that as it's fairly loose, there is a bit of excess fabric that will hang like this and create that roundish shape. Now for the skirt parts, it's pretty much like the pens. It's following the curve of the hip, and then it falls straight when there is no more obstacle. And on the other side, just like the pens, the fabric will follow the shape of the hip and the leg. And now you will need to consider the angle of the bottom of the skirt, so it's parallel to the touch at the waist, but it will go up and round the leg that is pulling the fabric. In the end on this example, it creates a fay symmetrical shape, but it's not always the case, which is why you really need to think about the physics of what is happening. And same as always. Once you're happy with the structure, you just be fine and correct. A Mm. Mm. Mm. So to recap, when doing clothing, always consider the contact points. So anything that will create a barrier in between the fabric and gravity. So it can be the places where the fabric is attached, like the waist or that retain the fabric like the shooters on the shirt or any place in the body that will prevent the fabric from falling straight toward the ground, like the curve of the hip or the angle of the legs or the arms, things like that. It's your turn to get the hang of it, draw the clothes as shown during the lesson. Again, you can simply use my mannequin and drew on top of it. During the next lesson, we will talk about falls. So the different types of folds, how they occur, and how we simplify it. See you in the next lesson. 6. Folds: In this lesson, we are going to talk about folds. So there are several ways of understanding folds. We could subdivide them into many categories, but as it's your first introduction to folds, we are going to keep it very simple. Let's start by the fundamental elements that will shape folds. Gravity, tension and compression. So gravity first. So unsurprisingly, if not retained by anything or submitted to any constraint, the fabric will be pulled down. Then tension. The fabric will have several ways of being submitted to points of tension. The points of tension are what prevents the cloth for being pulled down by gravity, it can be a shoulder retaining the fabric of a shirt, and then of course, the rest goes down pulled by gravity. Or it can be that the clothing is too close to the body, the body will create tension on all the area, and gravity won't really affect the cloth in this instance. Then compression. This will be typically when areas are bending inwards, bringing some excess fabric that will create faults. Now let's see how to apply it to our examples. The first rule to keep in mind, keep it simple, especially when we do in a simplified style like this. The folds shouldn't draw attention away from the rest of your drawing. So let's see what it would look like on our first drawing. There would usually be a fold beneath the chest area, male or female, because of the difference in volume with the rest of the torso. Then on a clothing that is tight like this, we could expect that there would be some fold that are created in the waist like this that are in that instance, not created by gravity, but by the fact that the clothing is a bit tight and the fabric is pulled against the body, and that type of fold would tend to travel towards each other. The shape looks a bit like a tube. Here again, pay attention. The folds are not flat. They are wrapping around the shape of the body as a three D object. Then on the pent, we saw that there is some point of tension around the hip area, so we can imagine that there is some fold that comes from that point and draws toward the ground. We can imagine that there is the same type of fold traveling throughout the other leg of the bent. On a style like this, that's really enough. Now, let's jump onto our second example. Here again, there is some tension in the shooter area. So I'm going to put two folds like this. One thing to be noted is that for tension folds, when you have two folds like this, they will travel away from each other. Then here the shirt is looser. I'm imagining that the volume of the chest won't be that visible, not flat against the dorso, at least, but there could be some tension folds on the sides like this. It's really not an exact science, right? I'm just choosing and selecting the fold that I want to draw, but you could choose to draw it in another way and that would be right as well. The essential is to simplify. Now on the waist, we already do have some compression folds so we can see how to draw them inside the shirt. So for folds like this, you can often draw them as sort of very distorted triangular shapes like this. Because it tends to create profound gaps in the fabric, which is why we can draw them as pockets like this. And here we can imagine that there would be some force traveling all in the same direction and be pulled towards the other side that is pulled by gravity and more attention falls onto the other sleeve. Tight pens will usually have folds in the going area. Again, those folds travel away from each other. The bottom of pens can have a lot of compression as well. I will create a lot of close folds like this. And inside, we can find faults that can be called Z act folds or X Y Z faults or diamond folds. Those words are images to illustrate what the shape of the fault looks like. Honestly, those are fairly complicated faults, so the best is to not do like I'm doing right now and use a reference instead of drawing from imagination. But it's just for the example here so you can understand better. You will also often find some faults in the knee area. You want a wool that would be everywhere where it bends, really. And you can just like this try and see if it looks good. I thought it didn't I just remove the fold. And I think that's enough for this one. I also want to pause here to show that depending on the fabric and the posture and all, some clothing will have a lot more folds than others. Like here, for instance, the shirt is very loose and has a lot of movements compared to the other clothing we have drawn so far. So this is why it has a lot more folds compared to the others. But to know this, you won't have to improvise like I'm doing here. It's just because I have a lot of experience with this that I can do it from imagination. But you will need to use references to documents how things actually look like. Now let's jump to our last example. Here you see it's a bit lose, but I'm still placing that little fold underneath the chest just to show you that you have indeed different options. Then it's going to be the same type of compression fold as for the shirt. It compresses on one side and travel towards the other and the lines tend to follow each other here. On the skirt, I would tend to say that this looks like the shape of a pretty stiff skirt, so I wouldn't touch it. Sometimes you can have clothing that don't have folds, but if it was a very loose skirt, the folds could drape like this, creating a sort of series of tubes. And here that would be tension folds. So the lines would tend to travel away from each other. Okay, that sits for this lesson. If you manage to wrap your head around those few principles, you should be capable of handling most situations. So to recap, falls tend to happen in points of tension, and when it's just pulled by gravity, the lines of the fold will tend to travel away from each other. When gravity is not involved, like in a situation where the fabric creates folds because it's close to the body, the folds will tend to be more parallel and create tubes that travel from one point of tension to the other. So have a lot of folds in compression areas where the excess of fabric gather and that can create that type of deep fold pocket shapes. And then you will have those zig zag folds that we saw on the bottom of pens, but that will usually happen in any tight tubes. And finally, we have that type of draping folds that we saw for loose cats that create a series of different tubes with lines that tend to go away from each other. Now it's your turn. Take your previous sketches and add some folds by following my example, just so you can start to have the feeling of it. During the next lesson, we will talk about decoration. So what I call decoration is anything from scenes to patterns or pockets, anything that makes the details of the clothes more interesting. See you in the next lesson. 7. Decorations: In this sesson we are going to talk about what I call the decoration. Any elements that compose clothing like seams, buttons, patterns, things like that. I'll just give you a few examples so you know how to approach this. I took back our first examples just to give you some more diosity different clothing, even though they don't have folds yet. So on the legging like that, we can imagine there could be a sort of elastic band that would compose the waist. And that would logically follow the shape of the waist itself. And on the side of the legs, we could expect some seas. This is actually a very good exercise to really understand your drawing in three D, as you have to keep a good understanding about how every shape of the mannequin is oriented. We could find some seam on the hem as well. And for the top, we could expect another elastic band and eventually that type of strip patterns. So one thing you need to understand about strips or any similar pattern that will wrap around the character, it's that they will appear closer together as the shape goes towards the back. Then let's move on to a sweater. We could imagine there is some sort of seam around the collar like this. And you see, you don't have to draw a continuous line. For details like this, you can break the line a little bit just to show that it's not such a strong feature, compared to the contour, for instance, and see how those strips would wrap around the color as well. Everything, even the small details like this, have to be thought in volumes. Also, one thing to mention about the line work, it's that you would want to keep the line of the details thinner compared to the contour, just to give some hierarchy and the importance of each element. And we could imagine some seam over here around the shooter. And also in the wrist area, why not? And we're just showing random things like this as an example. But of course, when you want to do some specific clothing, you will have to look at references to know how it's done. And also when there is a seem like that in the clothing, you can make a little gap into the outer line, just carving it slightly so that we look more realistic. Mm. Mm. Mm. Again, just playing with different types of patterns here. Look how I keep my lines fairly broken like this because I don't want those details to be overpowering. Then for the pens, I'm just going to imagine that this is some sort of skin jeans or something like this. I'm adding the typical details you would find on that type of garments here. Again, I have done this over and over, but when you're starting out, really go and find some reference just to really look at how those things are done. And then you remember the patterns. And I'm just drawing attention onto the little detail I'm doing with the pocket here. It's not going to be a very voluminous pocket, but the seam will still tend to take a little bit of volume, but just try to keep it very stored like this. That will make the shape a lot more realistic. Mm. And with decoration like this, you can also add the idea of folds without directly drawing the folds. So here I'm just making a few waves around the knee area to show that the fabric doesn't lay flat. Mm. Mm. And then let's jump onto our third example over here. So I'm just adding a seam around the color, following the exact shape of the color itself. H. And I'm again drawing some seam of elastic waistband. And here, look, as it's a looser band, I'm going to also make a pocket that is looser. So look at how the fabric actually goes more away from the initial structure of the bent and how we can see the pocket wrapping around the legs. And that already gives more interesting silhouette to the overall character. And make sure the pockets are quite symmetric as well. This is something that can be a little bit hard to get on the first try. And I'm pretty happy with this one like this, so let's jump on to the next. So on a classic shirt, we could expect, usually to find a collar again like this. And look here again, I'm just carving a little dent into the line just to show the seam on the silhouette of the garment as well. And for last example, I'm just going to demonstrate another type of stripes, a little more complex to handle this time, but you're going to see how it works. So when you're drawing stripes on a loose fabric like this, you will need to think about the fact that the stripes will be following the movements and shape of the garment itself that won't necessarily be completely following the shape of the body, you will really need to be capable of imagining the overall movement of the fabric all around the fabric. I hope that with my example, what I'm saying is understandable. And I'm just going to add a bit more details on that skirt as well to make it look a little bit more interesting. And yeah, look at what happens on the SIM when we're dealing with more complex folds like this. Here again, you really need to picture the seam following the three D shapes that are the folds. So it's a bit more complex, but that will really train you to think in three D, adding a bit more onto the skirt as well. Same principle as before, but look at how it makes things look more interesting right away. And just adding some folds over here onto that jumper that we didn't do before, just make it a bit more polished. And I think like this, it's starting to look pretty good. So I hope those examples would have been helpful to give you some Ds to experiment by yourself. So to recap for decoration like this, as usual, always think about the fact that you're drawing in three D and that the decoration will follow that rule as well. The line will be usually thinner than the line of the contour. Stripes or any sort of pattern, honestly will get visually closer on the sides when the garment is wrapping around the character and you can indicate folds as well with those decorations, even if you didn't draw the folds manually before. Now it's your turn. Just add your own decorations onto your previous sketch. You can just copy my example or you can experiment and do as you please. Just choose what you prefer. During the next lesson, we are going to talk about movement. So how clothing is affected by movement and what are the elements to take into consideration. See you in the next lesson. 8. Movement: In this lesson, we are going to talk about how clothing reacts to movement. It can be the movement caused by the character or the movement caused by the wind. It will work for anything that causes movement. For this lesson, I'm going to demonstrate it with wind. I have put the arms of the character out of the way just to demonstrate movement properly. But of course, if his arms were in the way, it would create a barrier for the clothing and prevent it from moving freely. I'm just starting by quickly indicating the level of his spans just for reference. I'm going to demonstrate it with a simple loose shirt again because as it's a very light and flowy fabric, it will be subjected to movement a lot more easily than stiffer and heavier fabrics. Let's imagine that there is some wind blowing from this side, from his back. What will happen is that the fabric will be pulled against his back, creating some compression folds and on the other side, it will flow freely creating that wave shape. You will often see that very flowy movement at the bottom of the garment, usually showing part of the inside of the cloth like this and you really need to pay attention to keep your hand very sople and your linework very flowy for that type of movement. You can indicate a big fold here to indicate from where the fabric is actually flowing away and a bit of compression fold as well. And here we've got some perspective going on with the arms. So that arm is going away from us, so the sleeve will follow. And so we won't see the inside of the sleeve because it's turning away from us. And on the other side, the sleeve is going towards us, as well as the arm, obviously. So same as for the body of the shirt, we see the fabric pulled against the arm creating some compression folds, and then flowing away in front. So you'll have again that wavel movement. And here we can see again the inside of the sleeve. Now, let's imagine the wind is blowing in front of him. So the shot will be pushed against his torso, creating the compression falls, and then it will be flowing away from him in his back. With movements, it's really about finding where the pressure is, pushing the fabric against the body, and the direction where it is flowing freely. So for the shape at the bottom of the shirt, you will need to keep in mind that it is flowing all along the line, even in the path you can't see. So if you had to draw the path that you can see, it would look like this. You see it's still very flowy and you really need to keep in mind that both sides are linked to make the drawing feels cohesive. And the shape really looks like a sort of infinite symbol that can help. Same on this example just indicating a few folds. This time we will see the fabric of the sleeves pushed against the arms creating compression folds and flowing away behind. The flow of the sleeve away from us will be mostly hidden. When you're cleaning your sketch, it's the perfect opportunity to clean a few lines that didn't feel very cohesive or to improve their movements. If you're wondering how to clean your sketch for traditional art, you can go and look for my drawing for complete beginners Anatomy May Dizzy in one of the characters in different postures lessons to see a demo on how to clean your sketch with pencil. Or if it's ink that you prefer, you can check my course creating scenery restorations, a process for drawing and painting with watercolors and gouache and check the two lessons sketching process and then draw armonus line. Or otherwise, if it's on digital art that you want to clean your sketch, you can go onto my lesson, learn digital art with Procreate, a complete guide for food illustration. Even if the course is tailored for Procreate, it will be the same principle with any software, and you can check the lessons sketching digitally and line art, and that should give you the necessary knowledge if you wish to get it already. But you can of course also keep it sketchy for now if you prefer. So to recap to draw movement on clothing, you first need to determine in what direction the clothing is pushed or pulled. And when it's pushed against the body, it will tend to create compression folds, especially with thin fabrics. And on the other side, it's going to flow freely, creating those very flowy lines, and that will reveal often part of the inside of the garment. But as usual, you will need to take into consideration the direction of the mannequin and of each of its individual components and take perspective into consideration. Don't hesitate to use reference to help. Now it's your turn to take the hang of it, copy my drawing as an exercise. At least one of the two. As usual, you can find the Manakin in the resource section. During the next lesson, we are going to talk about shoes or especially how you can begin with shoes as a complete beginner. See you in the neck lesson. 9. Shoes: In this lesson, we are going to talk about shoes. Shoes are complex to draw, so while you're still wrapping your head around drawing volumes and shapes properly, I suggest that you use this trick before jumping into actual shoe studies. I suggest that you only start by following the shape of the feet, adding just a bit of volume around. Just be mindful about how the volume is distributed. Some lines will touch the feet. For instance, here, the sole of the feet is in direct contact with the bottom of the shoe, so there is no reason for it to have a gap in between, while the top of the shoe has a little bit more space. As for the sole of the shoe, I suggest that you simply do it regular and flat to get used to the movement. He. Then another example here you can see that the sole of the feet is planted on the ground, but that the front of the feet is slightly elevated. I will leave a gap in between the front of the feet and the sole of the shoe because it makes more sense that the shoe would drop a little in that case. Okay. Ah. And for the other shoe, only the heel is in direct contact with the ground, so I leave a little space for the shoe to drop. Ah. Now, sometimes the perspective can be a little tricky. I don't necessarily advise that you start with the type of perspective right away, but I'm still showing you. So when you're ready, you know what to look for. So here you might be tempted to simply draw the contour of the feet like this. But actually, his toes are slightly raised, so the shoe would follow the movement. And here we would have a little bit of the sole of the shoe appearing on here. And a little bit on the heel as well, and the rest would be hidden by the angle on the perspective. And then drawing the food from view is never really easy, especially that the sole of the shoes distorted by the perspective will have that quite peculiar shape. So I'm insisting that you will need some reference to study to get the hang of it. A good model of shoes to study would be the conase shoes, as they have completely flat soles. And here you can see that shape I was talking about how the sole looks thinner due to perspective. And one last example, this one is a little bit tricky because the foot lays flat but is slightly rounded and is a bit from the back. But I just want to say that what I'm showing here is actually a good exercise that you can do for yourself to simply trace the shape of potential shoes on top of feet pictures. You can really learn a lot this way. So now let's try to give shoes to our manqin. So the shape of the feet of the mannequin already has a shoe like shape, so we won't have a lot to modify. I'm just adding the sole of the shoe and a little bit of decoration like this. Mm. And here I forgot to put the perspective on the decoration of the show. So as the show is going towards us, those little little should also become bigger visually as they come towards us. And actually, with the shoe on, the feet look a bit small like this. So I just had to modify them afterwards and make them bigger. So yeah, if you want to use my mannequin as a training support, try to draw over and add a bit of volume on top of the feet. Now, if you want to learn more about shoes quickly, there's only one way to go, and it's to try to copy all sorts of shoes from references because they can take so many different shapes, so you really need to study the ones that you want to draw. So to recap, to start off with shoes, try following the shape of the feet, paying attention to the point of contact, the places where there might be a little bit more space in between the feet and the shoe and also as usual, be mindful about the perspective and the angle. Now it's your turn. Try to choose 21 of your character, and don't forget that in the future, when you have time, you can exercise yourself by tracing shoes around naked feet or you can directly trace shoes on top of pictures. That's a good way to learn too. 10. Conclusion: Congratulations for making it to the end of the class. During this class, we first saw how clothing can be simplified in extremely simple shapes or light plat to give you a basic understanding. Then we talked about the thickness of different types of clothing and how it translates onto the body, and we mentioned to be mindful of the fact that pieces of clothing overlap with each other. Then we saw how the body affects the structure and appearance of the clothes through contact points and gravity. Then we tackle the most complex subjects that are false while seeing how to simplify them. Then we saw how to give garments a bit more personality by giving them some decoration. And then we emphasized the fact that we should always be mindful about the volumes and the angles of the shapes we are drawing about. Then we saw the elements to take into consideration when dealing with movement. And finally, we saw an introduction on how to start handling shoes using some simple tricks. If you like this course on want to learn more, you can watch the first crosses of this series and follow me to be notified when the next classes are released. If you're interested in my work, you can also follow me on social media. I leave all the information at the bottom of the screen. I would also appreciate it a lot if you could leave me a review, so I know what you thought about this class. I hope you enjoyed this class and found it helpful. With that said, I wish you to have fun with drawing and hope to see you soon.