FASHION BODY DRAWING IN PROCREATE UPDATED

1. Introduction & Class Overview: Hi, everyone, and welcome to the class dedicated to drawing a female fashion figure. And I try to make this technique as simple and straightforward as possible. We will base fashion figure on three simple shapes, and I'll show you how to manipulate them to change the body positions, and I'll show you some cool techniques to build an interesting body composition that is full of energy and balance. The second part of this class, I'll teach you how to rent the different skin tones, dark one and light one, and how to apply this technique to render any skin tone, even some experimental one, like a blue skin tone. I'm looking forward to see you works in the project gallery, and let's get started. 2. Tools & Setup: So first, let's quickly go through the pro creols we'll be using in this class. So I have four drawings on different layers, and let's say I want to select L three, it says empty layer. Why? Because I'm now on layer four, so I need to go to layer three, and now I can select L three and move it and do anything with it. When you tap on a layer, you can rename it and perform many different actions. Here, where you see this capital letter N, you can change the mode. Now it's N because it's in a normal mode. I can also drag a layer to the right to select multiple layers at once and I can move and transform everything that belong to those layers. I also can group several layers. Close the group. And now I'm working with everything that belongs to all these layers in one group. So here's our group. You can also rename it. You can duplicate it by dragging it to the left. When I tap this checkbox, I hide the selected layers or groups. If I want everything inside a group to become one single layer, I can tap flatten. Now it's not a group anymore, it's one single layer. I'll delete that layer and show the group again. If I tap on it and choose group, all the layers inside become separate again. Now, for example, if I have layer four above layer three, I can choose merge down. These two layers then become one layer. Now let's talk about how we'll usually organize our layers when drawing and rendering faces, bodies, garments, later. So first layer that I have at the very base is a base layer of base color. Above it, I create a layer called shadows. Above the shadows will have highlights. Usually above that will be the linework. Then I click plus icon and create one more layer and cool it details. It's for anything extra, we want to add to the sketch. As you can see, most of these layers are set to normal blending mode. We'll change shadows layer to multiply mode and highlights layer to screen mode. Very often the shadows layer will also be clipped to the base layer. It's above the base layer and I click clipping mask. I do the same for the highlights layer. It's very important that they are above the base layer. Let me show you what that means. I'm now working on the base layer. I create this circle selection. When holding my finger on the screen, the circle becomes a perfect circle. Then fill it in with color by dragging the color into the selection. Now I switch to the shadows layer. Which is clipped to the base layer. When I draw this clipped layer, I can't draw outside the shape of the base layer. When I try to draw anything, I draw within that circle only. This is extremely handy when you want to work only on a specific surface like skin or fabric. It works in the same way for highlights because highlights also clipped layer. If I drawn a layer that is not clipped like layer three or layer four, you'll see that the stroke appears even outside the circle. Next, let's look at how to activate the drawing guide. I go to Actions menu, Canvas drawing guide, and usually by default, we have a grid. So I tap Edi drawing guide because we need a symmetry tool. I click on symmetry and I get this vertical line that I can move around. So what this tool gives me? Now I go to layers and my base layer is assisted. I don't need that. I use base layer for color only, so I deactivate the assist and I go to, for example, linework layer and click assist. Now, when I draw anything on a linework layer, the drawing gets mirrored on the other side of the line. This is very useful for things like nose bridge or eyebrows that need to be mostly symmetrical. To deactivate it, I simply go back to the layer and turn the drawing assist off. You'll immediately see that my drawing is no longer mirrored. I also turn the drawing guide off from the actions menu. We only use a few brushes in this class. The first one is a six B pencil from the sketching set. The second is Jasinski brush from the inking set. We'll also use a monoline brush from calligraphy. Finally, we'll have a shadow brush, so I created in the drawing set. In a stroke path, I change the space into 10%. Then I go to grain, tap edit, choose import, source library, and pick B noble. Then I tap done. Next, I go to scale and reduce it to 13%. In wet mix, I change the grade to minus four. And that's it. You can tap and hold the brush to open the menu and rename it. I call mine simply shadow brush. We'll be working with four colors for each skin tone. Bye skin color, shadow color, transitional red, and highlight color. This structure stays the same four skin tones. I already have these palettes prepet. So this is base cool light skin tone, then shadows, transitional red and highlights. Here we have the palette for dark cool skin tone. This is warm light skin tone. And warm dark skin tone. All four of them are here. So you click Plus, and then you upload from the folder. Usually, it's a downloads folder if you download the palette using your iPad. Another very handy tool is the color picker. It's located right between the brush size and brush opacity controls. And there are other ways of selecting colors. You can explore a bit procreate and find many useful features. Next, let's look at the selection tool. This is a freehand selection, and it's extremely useful when you want to recolor or just a very specific shape. For example, if I want to recolor your lips, I select them using the freehand selection. Then I go to adjustments, choose hue saturation brightness, and here I can change the hue. And here I control the saturation, and I also can adjust the brightness, making a daka or lighter. You can also make selections using a rectangle or an ellipse. Another very useful option here is the add function. For example, I select one object, then tab ad, select another object, and add another one. Then I have all of them selected. Let's talk about transformation tool. I select your head. If uniform is activated, the object scales proportionally. If I switch to free form, I can transform it in one direction only horizontally or vertically. I can also flip objects horizontally. Another tool we'll be using is a smudge tool. I can make a stroke, then switch to smudge and work with the edges. This tool is very important when you're shaping forms and blending shadows and highlights. The eraser tool is also more versatile than it seems. You can use different brushes as eraser. For example, Jasinski ink and create this interesting edge. Now a few useful finger gestures, two finger taps to undo, three finger taps to redo, and a three finger swipe opens a quick menu. You can customize it in settings. And that's it. These are all the tools we'll be using in this class. You don't need to memorize everything right now. I'll remind you of each tool exactly when we need it. For now, just make sure your color palette is imported and your shadow brush is created. I'll see you in the next video. 3. The Static Body as a Base Structure: Let's start by creating an A for Canvas, go to Actions Menu Canvas, turn on drawing guide, and tap Edit Drawing Guide and then choose symmetry. Now I'm going to the calligraphy set of pens and selecting monoline, the most solid one. I keep the opacity at 100% and pick a bright color so the structure is easy to see. First, I draw an egg shape. This will be the head. So make sure that you close the lines so you don't fill in all the space. We need three main shapes, the egg for the head, one shape for the chest and one for the hips. Now I draw the chest shape. The upper line defines the width of shoulders and lower line defines the width of the waist. Let's find the center of the canvas. We'll try to keep the body a bit above the central line. Here I'm using a free form transform to make the shape slightly taller or wider. If you want to adjust a specific area, you can use warp transformation. Here, for example, if you want to make shoulders flatten, you can use the warp tool, you can drag these points or drag the rectangles. Now I draw the neck. For now, it's just a simple tube connecting the head and the chest. It's important that it's connected in the middle of the shoulders. Soften and curve that connection. Next, I connect the chest and the hips. At this point, I lower the opacity of this layer and create a new one. I also turn on assisted drawing for this layer. You just click on it and click Drawing Assist. I get the symmetry on this layer as well. Now I'm using six B pencil in size ten, and I have a separate class dedicated to drawing phase. So if you want to learn that in details, you can watch it. Here I'm just showing the process. Now in the middle of the face, I'm drawing your eyes, adding eyebrows. Next, I draw the nose and just below it, I draw your lips. At the eye level, I start drawing your ears and also I want to soften her jaw line because her facial features are quite soft. Now I follow the shape of the neck into the shoulders. This is a moment where you can really feel the proportions. If the shoulders seem too wide or too narrow, adjust them freely. I add the collar bones, stretching them from the shoulders toward the center where they meet, you get the jugular point, this indentation. From there, these lines can extend slightly upward toward the jaw. Now for the torso, in the lower half of the chest, I draw two circles. The size of the circles defines the size of the breast. Any size works, of course, it's entirely your choice. Looking at this, I feel the chest is a bit too wide, so I go back to my structure layer. I select the chest and then use the warp tool and transform the chest, so it's not that white. Back on the sketch layer, I connect the armpits to the breast using a soft S shaped line. A little below the waist, we place the belly button. Then I follow the rounded shape of the hips. If you want a more bony look, you can emphasize it with a sharp lines instead. Next, I define the approximate position of the feet. The knees are placed slightly above the midpoint of the legs. For the knee, I draw a bracket like curve on the inner side and a straight line on the outside. On a slim body type like this, the inner thigh curves outward just below the hips, then curves inward above the knee. On the outside, the thighs are fuller in the upper half more curved and flatter as they approach the knees. Let's make a nice good curve here. I think I will keep the more curve type of hips. It will look better in this case, I think. I draw the circles for the ankles a bit closer and then connect knee circles with ankle circles with line that is a bit more curved in the upper half. Then I draw these bones at the knee caps. They help with highlights later. On the outside in the upper half, the line is more curved and there is a small indentation under the knee on the inside. Line becomes flat on both sides on the outside and on the inside as it approaches the ankle. When connecting the feet, remember the inner ankle bone sits slightly higher than the out one. Then I draw feet. They look a bit maybe a little bit like piers now let's move to the arms. Below the elbow, the arm changes angle slightly. It's not one straight line. The lower half tilts outward a bit. Then I draw this carrot shape. And the upper arm is more rectangular, but notice how the flesh come slightly closer to the bone in the middle. It's thicker at the shoulders and wider at the elbow. It's very helpful to keep reference images of female bodies at different angles nearby. I've included reference images in the class resources, so feel free to print them and keep them on your desk. You can always use transform tools for selecting any part and then just changing its position or transforming it. For the hands I start by building the structure. The thumb and the first joint of the other finger sit at roughly the same level. I draw them first as lines. Here's our thumb. Then I draw half of each finger first because that half is where that middle joint is at the same level as a thumb. Then I extend that finger. I simplify the fingers and skip some joints to keep the drawing clean and fluid. Finally, don't be afraid to adjust proportions. You can shorten or lengthen the neck, move limbs or resize any part using the transform tools. You can build the post first digitally for your paper drawings as well. 4. Balance & Stability in a Pose: So let's start by creating a new A four Canvas. I go to Actions Canvas, turn on the drawing guide, tap edit drawing guide, and choose symmetry. I'm building the structure using three main shapes that we made before. I select the monoline pen from the calligraphy set and keep the opacity to 100%. I have a blue color picked. I just pick some bright color. First, I draw an egg shape for the head and fill it in. Then I draw the chest and fill it in. And finally, the hips. I'm already making the way slightly narrower. This line here is the center line. My goal is to place more of the body above this line so the legs appear longer. Now I select the hips and the chest and use free form transform to squeeze them slightly. Okay. So let's put it here. Next, I want to adjust the chess shape, so I select it separately. I choose warp transform, which allows me to manipulate specific areas. So I want to flatten her shoulders a bit. This makes them easier to work with later. Okay, so I also want to flatten the chest on the sides a bit. Now I deactivate the drawing guide first on the layer, then in the canvas settings. Next, I transform all the shapes together them. I tilt the chest to the right and the hips to the left. The hips can usually tilt a bit more than the upper body, and this adds movement. I create one more layer. Now you see this is our first way of adding dynamics, altering the tilts of different body parts. Heap to one side, chest to another side, and we can either tilt the head or turn it to the other side and it will make our pose more interesting. I connect the neck to your shoulders right in the middle and connect to your head as well. You can move the head if it's not exactly where it should be. And then I connect the chest with your hips. Close the shape and fill it in. Next, I draw one straight leg. It's overall tilt is opposite to the tilt of the hips. You can see that this line leans more to the right while the hips lean to the left. I finish the food. This is a simple high heel food shape with slightly pointed toes. I just turned her foot a bit to the inside. That's why the inner line is more sloped. I place the knees a little higher than the midpoint of the legs. You can place them exactly in the middle. If that feels better, both options work. Now I switch to a bright magenta. You can see the connection of two bones at the knee. I draw a bracket like curve on the inside of the knee and a straight line on the outside. Again, the out thigh is more curved at the top and flatter near the knee. On the inner side, the curve is stronger under the crotch and turns inward about the knee. For the lower legs, I show the indentation under the kneecap and then the cuff and again, the line becomes flatted toward the foot. Look at the spine here. It's curved as if something is pulling her to the left. Without enough support on that side, she would lose balance and fall. To fix this, I can build the leg along this direction and use it as support. At this stage, it's very important to trust your intuition. If a pose feels unstable, you'll sense it immediately. Our brain naturally recognizes imbalance. It will feel as if it's unstable, really. Now I stretch the supporting leg and rotate the foot slightly. I drew the upper hips the same way. One of the reasons I love this post building method is that you can select and adjust limbs individually. For example, if I put her leg like this, this feels unstable. She's clearly falling. But once I adjust the leg and arm positions, the pose becomes much more grounded. Now let's look at the second way of adding dynamics, balancing prominent parts. Your right side feels flat and your left leg is very prominent. To make the pose more interesting, we can balance this by adding emphasis on the upper body on the right side where we have a straight leg. So for example, if the leg is flat on one side, we can make the arm on that side more prominent. She could be holding a back there, so like this or having some accessories stretched in that direction like a scarf. And on the other side, I make more straight arm. Or we could rest your hand on her hip. In this case, your arm is more prominent on the top. On the other side where the leg is more dynamic, I keep the arm simpler and flatter. This contrast creates balance and visual interest. Here are three ways of adding energy to your drawings using altering tilts, balancing top with bottom, and using diagonals. 5. Dynamic Pose from Reference: I now we're going to build a post based on a reference image. I start by creating an A for Canvas, then I go to actions, Canvas, reference, and import an image from my photos. Here it is, you can resize or stretch the reference slightly if needed. Before drawing, let's analyze the pose. We can see that the left side leg is bend, which reduces support on that side. As a result, your hips tilt to the left side. And on the other side, we have a straight leg, the main support. Next, look at the chest. It tells in the opposite direction again, but more subtly. Here is a spine and it looks like S shape a little bit. Here are directions of the tilt and her head turns away from the chest tilt, adding another change in direction. These altering tilts left are what create movement and dynamism in the pose. Your head is also slightly tilted to the left, which reinforces this flow. Now notice the arms. You legs are placed quite close to each other, so they aren't very prominent. The arms help balance the pose and make the silhouette more interesting. Okay, so let's start building the structure. I activate the symmetry drawing guide and begin drawing my three basic shapes, the g for the head, the chest, and the hips. Don't worry about perfection at this stage. Everything can be adjusted later during sketching. Okay, so This line here marks the center of the canvas. I want most of the body to sit slightly above the center. You can also experiment with different transform tools like distort or free transform to see which one feels more comfortable for adjusting specific areas. Here I use free transform to gently squeeze the chest and hips. Now I deactivate the drawing guide both on the layer and in the canvas settings. Next, I start tilting the shapes. I begin with the chest, tilting it slightly to the right. Let's move it below her head right in the middle. Then I select the hips and tilt them in the opposite direction and I can tilt them a bit more. Now I draw the neck, placing it in the center of the shoulders. Okay. Now I connect the chest to the hips with a smooth line. Next, let's work on the legs. One leg is bent. And the other legs straight but tilted a bit in the opposite direction from the hips, just like this. I lift the knee slightly and add a simple carrot like shape for the upper legs. They rounded at the top and narrower and flatter toward the bottom. I feel everything in with color. So for the lower legs, I draw a shape that's more rounded at the top for the calves. So it looks and then I flip it horizontally and put it just so they really fit the calf shape. Um, if you want to reduce some volumes, you can just cut them out using a free selection tool and then go into actions and just cutting. On the other side, the leg turns slightly inward, we see more of the back of the calf, so I draw this side more round it. At this stage, don't overthink anatomy, focus on the silhouette balance and stability of the pose because we can refine the body shape at the sketching stage. Now, I refine the neck, rounding it, and adding a hint of muscle. Now let's add the arms. As a guideline, the elbows usually sits around the waistline. I draw this soft rectangle that is a bit narrower in the center. The forearm is roughly the same lens as the upper arm. I just draw in the same lens at this upper arm and move it and then draw the carrot. Because both arms are on a similar plane and not pulled backwards, their proportions stay almost the same. I copy one arm, paste it, just rotate it. And once the position is right, I just connect it. I'm drawing the armpits. Okay and I can copy this carrot shape as well. Let's merge down that arm that I pasted, then copy paste. I position it where I need it. Again, I'm merging down this piece. Everything is on one layer. Next, I play simple shapes to indicate the pumps. Now let's draw the feet. I use a peer like shape with a flat bottom on both sides. Finally, I take a step back and analyze the pose. Does it feel stable? Does it look balanced? For me, it doesn't look stable honestly. I'll try to move a bit this lower half of the leg, bend it more. I adjust the til below the knee. And then just connect everything. So I also want to move the entire leg a bit to the side. I think this looks better. Okay, so now I rotate it just a bit. Yes, this feels right. At this stage, you only need small refinements. Once the pose feels stable, natural, it's ready to be used as a base for your sketch. You can even print this pose out and use it as your reference whenever you need it. 6. Structure into a Clean Sketch: Now that the pose is ready, I'll use three fourth body reference to refine the drawing. I create an extra layer and it feels to me that the upper body is turned slightly to the left. That's why I'm going to use this reference. Through the center of the chest, neck, and crotch, I draw a gentle curved line. This helps me position the jugular point just in the middle. Here we have the collar bones. In the lower half of the chest, I draw two circles on either side of this line to place the breast next, I switch to a six B pencil and draw along the sides of the breast to define the armpits. I connect everything smoothly into the arms. At this angle, the back appears flat. Actually, we see the back at this angle. I go back to my structure and with a free hand selection tool, I select this area that I don't need, go to Actions menu and cut it. Then I go back to my layer, the top layer. I draw the armpits on the other side and connect them to the breast. At three fourth angle, one breast appears more prominent. I draw the chest underneath accordingly. Again, if there is any extra colored area, I simply cut it out on the layer below. We don't need the central guideline anymore. I erase it and keep only the lower outline of the breast. I don't need the full circles anymore. Let's refine your hips a bit. Then I merge down those details with the main structure and reduce the opacity of the structure. Then I create a new layer, pick the six B pencil and choose the black color. Now we stab the sketch. I follow the reference closely observing the jaw line shape, then sketch the nose and lips. I have a separate class fully dedicated to face drawings, so I won't go into detail here. If you want to improve your face drawing, start with simple angles and gradually move to more complex ones. Start drawing front face, side, face and then it will be easier to draw from a references that might seem more difficult. With practice, everything becomes much easier. I draw the tip of the nose and then add a small triangle underneath, add nostrils on the sides. Then following that central line, I draw the nose bridge and then add eyebrows below add the eyes. So I want to refine your nose bridge because this is the view at the angle, this nose bridge to be also at the angle. It's not the front view. I'm drawing the other eye. And I want to refine your jaw line. At a distance more than the width of one eye, I add the cheek bone and then draw your ear. I want to reposition your eye and eyebrow on the left side, and then I just refine the outline of her face. Next, I draw the hair. I just draw this big strands of hair and then I draw your neck. I add the jagular point, the small indentation above the collar bones, and slightly more prominent shoulder muscles where the arm is lifted. For outlining, I like using a six B pencil in this size ten. If you prefer cleaner lines, you can use Jasinski ink or any other brush from inset. Personally, I enjoy combining pencil outlines with chalk for coloring. It creates a textured hand drawn feel even if it's a digital work. Now let's look at the hips. If you run them more, the body appears fuller on the reference image. If you flatten the line slightly and suggest that bone just a bit lower than your waistline, then the body looks less full. This depends entirely on the type of model that you want to draw. This is not a final outline. You lines don't have to be perfect. This is more this is the first sketch based on the structure, and then you can create extra layer with more refined lines. To draw the pum, I first build a structure. I draw a curved line where the wrist begins and then where most of the fingers attach. The thumb is more or less in the middle or maybe a bit higher in the middle of this shape. I just try to locate everything. Maybe thumb starts here. Notice that the thumb aligns roughly with the middle joint of the fingers while the lower finger joint sits slightly lower. I'm redrawing that lower joint, and here I add the other half and draw my simplified versions of fingers. So finally, I move to the other arm and simply outline the carrot like shape of the arm structure. Now, let's work on the hand. Again, I start by drawing a part that's easy for me to locate. I usually begin with the area that includes the two main joints. A any reference point that feels clear to you works here. Next, I draw the thumb and end it at roughly the same level as the middle joint of the fingers. After that, I add the fingers. And I slightly curve this line inward and also adjust the angle until it feels more natural. Now I move on to outlining the legs and feet. This is still a sketch, so I allow myself to be less precise. Here I sketch the bones that meet at the knees. You can erase parts lightly, but try to keep the small triangular shape. It's very useful later when you add highlights. So so I draw the toes, keeping them slightly shorter and simplified. The design of this dress allows me to add diagonals. The third way of adding energy to your drawing. I add diagonal lines to the dress, including the low back part. At this point, I feel there isn't enough space for your headwear. Even if I move your downwards. I select the lower part of the body and squeeze it slightly. You can also squeeze the upper body if you want longer legs. For example, select the area below the chest, move it upward, and then quickly sketch the legs back in. Once again, I add diagonals drawing your headwear. Our sketch is ready. Let's go to the step of rendering the skin. 7. Rendering Light Skin: Now that the sketch is finished, we can move on to coloring the skin. At the beginning of this class, we uploaded skin tone palette. Each skin tone includes four colors and we'll be using them step by step. I pick the first color for light cool skin tone. I create a new layer and then rename the sketch layer as sketch. That new layer below, I rename it as a base. Above the base layer, I create another layer, set it to multiply mode, clip it to the base layer, and rename it shadows. Next, I create one more clipped layer above, set its mode to screen, and rename it highlights. Now, let's start with the base layer. I've already selected my skin tone. I choose the chalk brush from the calligraphy set, set the opacity to 100%, and use a brush size of ten. I color all the visible skin areas. I personally love chalk because of its texture. It gives a hand drawn organic feel. If you prefer something faster and more solid, you can use the monoline pen at 100% opacity, outline all the skin areas and simply drag the color in to fill them in, just as we did when we drew the body structure. Next, I move to the shadows layer. I select the second color from the skin tone palette. This is my shadow color. I begin adding shadows to the face. You can use the shadow brush that we created in the tools video. But here I'm just experimenting with the chalk. As I observe, chalk works nicely as a base, but for shadows, it can feel a bit rough. I switch back to the base skin tone and apply it on this shadow layer. This creates soft pinky shadows which I really like. I add shadows along the sides of the forehead, along both sides of the nose bridge, and softly on the sides of the face. This is how it works. I left the middle of your nose, middle of your forehead. But on the sketch layer, I want to add some hair because I think that your forehead is unnaturally open. Then I just add some eyelids. Then I return to chalk and on the shadows layer, increase the opacity bit to add stronger shadows, especially along the nose bridge near the headline and on the sides of the face. So I leave a small triangular highlight area, the Rem Bron triangle and make the far side of the face slightly darken. Okay, so here I add shadows. I cover those shadows with skin tone, so it's more pink Next, I add shadows on the neck, especially in the indentation above the collar bone in the juggler point, on the sides of the neck. I use a bit of gray to softly define the jaw line. It's the shadow color that we have. Basically, shadow color is less saturated skin tone for the light skin. Now I go back to the sketch layer to add eyeliner. I do that with six B pencil. Then on the other side, just make the nostrils darker and then draw pupils and iris. Here and on the other side. And then add the eyelashes. To color the lips, I create a new layer below the sketch and choose the third color from the skin tone palette. I color the lips on the separate layer so I can easily change the lip color light if I want to. For lip shadows, I simply use a dark tone and add shadows along the lower lip and the bottom edge of the upper lip. Back on the shadows layer, I decide to shift the shadows to a more pinkish tone. I just pick the skin tone and work on the top of those shadows. I just feel that with a chalk that gray shadows look like a facial hair. Pinkish tones give a much softer and cleaner result. But you can work with the shadow brush that we made. It will give a different effect. And on the sketch layer, I also want to transform this facial outline and make the face a bit narrower. I go back to shadow layer, and now I switch to the shadow brush. I start defining the body, shadows under the breasts in the armpits and along the torso. This brush creates much softer more natural shadows. So from this point on, I'm going to work with it. I add very subtle shadows below the collar bones and continue defining the form. When shading the limbs, I keep the shadows that are closer to the body, a bit wider. If this is in outline of the arm that is closer to the body, then I make it dark and whiter. If there is anything more horizontal like this lifted arm, anything that is below the bottom is darker and with wider shadows than the top. The same logic applies to the legs. Inner shadows are wider and darker than those along the out edges. Around the knee, I use a narrower brush to define the bone structure. And then switch to white brush to shade the cufs. On the other side, the leg is slightly turned inward, so I place more shadows toward the back of the leg showing the bone only on one side. In the lower leg, this bone is more highlighted in the middle. Now I move to the highlights layer. I pick the forest color from my skin tone palette and start adding highlights. I place them between the breast on the top of the breast and on any area that catches more light, muscles, ribs, and bones that are more prominent. You can emphasize those parts with highlights. But much too many highlights can also give the wet effect as if the body is wet or covered with oil. Here I need more shadows. I go back to the shadows layer and I feel we need a bit more depth here. Don't hesitate to move back and forth between layers and make small adjustments. Those fingers inside need to be docu. Now I pick that third color in my palette and on the shadows layer, I lower the opacity so the color doesn't become too strong. I use this tone along the borders between light and dark areas and also slightly over the darker shadows. This reddish tone adds warmth and life to the skin. I apply it softly on the shadowed areas. You can also use it to add a blush. Next, I pick a soft purple tone and create a new layer above the shadows layer. Also clipped. I add gentle shadows under the jaw line. I do it on a separate layer just in case I don't like it, so I can easily just delete the layer or change its hue. That's it. We finished coloring light cool skin tone. 8. Quick Pose Study from Reference: Now let's work with another reference pose. I go to Canvas, tap reference, and import an image from my photos. This video will be a bit faster. By now, we are more experienced, so let's jump right in. Here is my reference image. And let's create so I have a layer with all these three shapes that are needed to build the pose and I'm creating a new layer and picking some magenta color, just different color. In this reference, the neck tilts in the same direction as the chest. I'm drawing the neck on the layer below, I select the chest. And position it with the same tilt as on the reference image, and I position it so the neck is in the center of the shoulders. Next, I select the lower body and tilt it even more adjusting its position so it connects naturally to the chest. The chest and hips are relatively rigid parts while the belly area is the most flexible. I marks the center points of each section and connect them with a curved line that bends the most at the belly. This creates a natural flow through the body. In the lower half of the chest, I draw two circles to place the breast. Then I connect the neck to the shoulders using soft curves to here we have the muscles. I connect the upper body to the lower body, then close the shape and fill it in with color. Just like that, the upper body is built very quickly. Now I draw a leg line that tils in the opposite direction from the hips. At the foot. So here we have the foot. Then I locate the knee and sketch the hips, remembering that they are more rounded at the top and flatter closer to the knee. For the lower legs, I use simple shapes that resemble soft rounded forms. With a free hand selection tool, I select your foot and narrow it a bit. Well, now we clearly see that she needs more support on the left side. I draw a baby carrot shape for her hip. She has strong tilt on one side, so it implies that your leg there is bent. When drawing the lower leg from this angle, one side appears flatter because we're seeing it more from the side. That's actually a bone. And at the back, we're drawing the calf. I'm adding the food. At this stage, everything is very schematic. This step is about composition, not details. Next, I draw the arms following the reference. E. So the second arm. I can also tilt the head like this in the opposite direction to add even more movement. By shifting tilts, adding diagonals, and balancing top and bottom, left and right side, we increase the energy of the pose and make the composition more interesting. So on the side where the leg is flattened, I balance it by adding visual interest. For example, a back that is positioned diagonally. You can also introduce a diagonal in opposite direction with the design on the skirt. Just like that, we've built a new pose from a reference. In the next video, we're going to create a sketch and then we'll learn how to run the dark skin. 9. From Structure to Expressive Sketch: Now I have my pose ready. I reduce its opacity and create a new layer above it. Using a six B pencil, I start drawing the face. I found a model photo on Pinterest and use it as a reference, but I'm not copying the face exactly. I'm more interested in the position of facial features and on the shadows and highlights. I first draw all the guiding lines that help me place the features correctly. I also have a separate class dedicated to face drawing. If you follow that one, this step will fill much easier. I just drew your lips and now I continue with the nose. I don't show much of the bottom plane since her head is a bit tilted downwards. You can see the rounded tip, the wings of the nose, and the general outline. This lower outline of the nose very often resembles me, the bicycle handle. Next, I indicate the nose bridge and the eyebrows. Working digitally, I try not to increase the face, not to zoom in too much when drawing facial features. I usually try to keep it closer to the size that it would be on actual real A four paper. Why I do so because working at this scale prevents the drawing from becoming overly precise. Here, I'm drawing at a bigger scale so you can see the details. Otherwise, everything would be too small. So if you zoom in too much and work on tiny details, the face can start to look almost photographic at the end, which feels strange in a fashion sketch, especially when the body and the clothing are drawn more loosely and faster. So I'm adding the iris. When I draw dark eyes, I just keep the highlights on the colored. At a distance more than the width of one eye, I draw cheek bones, then I continue with the jaw line and then add her ears. Next, I'm marking your hairline. Next, I draw the neck as two parallel lines and then curve them toward the shoulders. You can use a Jasinski ink pen for a clean final outline if you prefer. But for both sketching and outlining, I personally like working with a six B pencil. I intentionally leave some imperfect strokes because they create a more natural paper like fill. Here is a middle line, I need to draw this jugular point and then I draw the collar bones and I connect the neck and shoulders with a soft line. So I feel like my collar bones and the shoulder are a bit lower, so I rotate them and lift a bit and then connect everything. Since your body is mostly facing forward, both shoulders should have roughly the same length, so I copy one shoulder, paste it, flip horizontally. If the body were turned at an angle, the far shoulder would appear shot. But in this case, symmetry works better. Now I draw the arms. I keep them thicker near the shoulders where the muscles are larger. And then they become thinner and again, and then they widen at the elbow. Next comes the chest. Okay, here I need the central line. Then place the breast in the lower half of the chest on each side of that line. Okay. So here I will just reduce the size of the chest a little bit. I continue the central curve down toward the crotch, keeping the flow of the body consistent. Because her leg is turned slightly to the side, we can see more of the back of the hip. And this is how it looks at the back. So it's curved below the buttock, and then it's curved inwards towards the knee. And on the front of the leg, it's curved outwards. So I reflect that in the drawing. I return to the structure and adjust the leg position, increasing its tilt. I select your leg on the right side. Your hips have very strong tilt, so I want to increase the tilt in the opposite direction of this leg. I think it will look more balanced like that. I draw the leg, and I show these bones at the knee, the way they connect. I draw this bracket shape on the inside and flat line on the outside. The hips are more curved at the top and flat closer to the knee. I define the cuffs, adding a small indentation just under the knee on the inside, and flat lines toward the ankles on both sides. Remember that the ankle bones sit at different heights. The inner bone is higher and the outer one lower. Now I look at the reference image to drop your foot in high heels. I keep the same shoe design and focus on the angles and proportions. Pay attention to how the lines relate to each other. Does one line end before another? Is the bottom line horizontal or is it slightly angled? Treat each line individually, but also check how it works in relation to the rest of the shoe. I I'm making the heel more curved and adding the strap. At this point, the left foot feels a bit too long compared to the right one, so I slightly compress it. I want both feet to be the same size, so the heel sit at the same level. This is sketching part, it's not a clean outline stage. Next, I move on to the arms. Go. Both arms are on the same plane here. That means the upper and lower parts of each arm can have roughly the same length on both sides. I can roughly measure each part and make them the same. Now I'm drawing the hand. I start drawing it by blocking in the pump first, then adding the fingers. This hand feels a bit awkward in its position. I rotate it slightly. That already improves the gesture. You can also transform the pum if it feels too long or out of proportion. Now let's close this line. For the second hand, I follow the reference more closely. The thumb sits around the level of the joint of the fingers, like the middle joint. Then I add the remaining fingers. That's it for this step. In the next lesson, we'll move on to rendering a dark cold skin tone. 10. Rendering Dark Skin: Now that the sketch is ready, I turn off the construction shapes we used to build it. I create a new layer below the sketch and name it base. I rename the sketch layer to sketch or outline depending on how refined it is. Next, I create a layer above the base, name it shadows, set it to multiply mode, and activate the clipping mask. Then I add another clipped layer above it, name it highlights, and change its mode to screen. Okay. Now I move to the base layer. You can download the color palette for the skin. I pick the first color for the cool dark skin toe. I choose the chalk brush, set it to 100% opacity in size ten, and color all the skin. If you want a faster work throw with less texture, you can use a monoline brush, outline the areas with 100% opacity, outline the areas and simply drag the color to fill them. But here I prefer to work more slowly and build texture with chalk. Once the skin is filled, I color your linger in black and choose a deep burgundy tone for her lips, slightly darkened, more reddish than the skin. Next, I switch to the shadow brush. You can find it in the downloads and I also explain how to create it in the tools lesson. I pick the second color in the skin palette. I add shadows along her jaw line, and then I begin adding shadows to her face. With a narrower brush, I define the nose bridge and the lower eyelids. Then I increase the brush size and shade the further side of the face, leaving a triangular highlight under the eye. I soften the shadows as they approach the center of the face. Dak on the sides, light touch, less opacity closer to the center. I add shadows along the cheek bones, the sides of the face, and the forehead. And add shadows very gently between the eyebrows. Whenever the shadows feel too harsh or overlap awkwardly, I use the smudge tool with the same shadow brush to soften the edges and blend everything smoothly. So I'm smudging all these shadows to make them softer. Now I pick the third color, which I call transitional red, lower the opacity and add subtle warmth. I use it on a darker areas and along the bodice between light and shadow to bring life and a sense of blood flow to the skin. Going back to the shadow color, the second one in the palette, I slightly increase the opacity and move on to the body. I add shadows in the triangular indentation above the collar bones at the jugular point and along the sides of the torso. I define the shape of the breast. And add very subtle shadows under the collar bones, very, very softly, especially in the middle. On the shoulders, I add the stretched triangular shapes, then add shadows in the armpits. Along the limbs, shadows are wider and darker on the inner sides, then on the outer edges. Anything that is closer to the body, I make those shadows like wider and darker. Showing your ribs, adding shadows on the sides of your belly. It's very helpful to work with body references of different shapes to understand where shadows and highlights naturally appear. Adding shadows on the sides of your hips, So I reduce the size of the brush and show those bones. Then work with lower part of the legs, making the fingers inside daka Okay, so I return to the transitional red, the third color, and gently layer it over dark areas and along transitions to keep the skin vibrant and alive. Make sure that opacity is low. This red is not too strong. Now I move to the highlights layer. I originally chose a warm highlight for the contrast. But for a fully cool palette, I switch to bluish white. You just pick here. I keep the opacity low around 25, 30%. And add highlights only to the most prominent parts, bones, muscles, and areas with more volume. Be careful not to overdo it so the skin doesn't look oily. But if you even do, you can select the layer, go to adjustments, pick hue saturation brightness and reduce the brightness or select some area that is too bright and do the same thing. So I'm showing these bones on her knees. Then I pick the smudge tool and I'm smudging all these highlights to make them softer, to stretch them more. I add highlights to the face with a bit larger brush and then use a smaller brush for the nose breech, the tip of the nose on the eyelids a little bit and along the contour of the face. With Jasinski ink pen, I add very bright highlights to the lips to show the gloss. Next, I create a new layer above the sketch layer and name it details, just like we did in the face drawing class. Now I start by adding more contrast to her Irises using you can use six B pencil or Jasinski ink in black. Then I draw the eyeliner and the eyelashes. On the highlights layer, I place small highlights in the inner corners of your eyes. Then I switch to the shadows layer and using the reddish brown or transitional red or slightly higher opacity, I add stronger shadows under her nose and under her lips. I go back to the detailed layer and continue refining the eyeliner just making a bit bit more visible. Next, I return to the highlights layer and add a few more highlights along her face. And a bit on her shoulders. With a wide brush, I apply very soft subtle highlights on the bright side of her face and show some on the cheekbne and temple. I lightly smash them so the brush strokes don't stand out and everything feels smooth and natural. O. Now using the transitional red again, I add more saturated shadows along the jaw line and inside the armpits. With a slightly lighter pinkish tone, I layer in extra shadows to keep the skin warm and alive. At this stage, you can continue refining details, working on the eyebrows, shoes or any small accents you want to enhance. For this lesson, my goal was to show you how to rend the dog's skin tone, and at this point, the body is fully rended. 11. Final Project: Congratulations. You reached the final step of this class, which is a final project. For that, you need to create an A four size Canvas in Procreate and draw a female fashion figure. You can draw it from your imagination or base it on a reference. If you use a reference, please upload it along with your drawing because it's very interesting to see how you translated that reference into a sketch. If you have any troubles with drawing faces, please check my other class dedicated to drawing faces and combine your new skills and draw a complete fashion figure. I'm looking forward to seeing your works, and thank you for taking this class.