Fashion Illustration: How to Create Various Fabric Types with Markers

1. Intro: Hello my dear fashion students and welcome to fashion illustration, how to create various fabric types using markers. In today's class, I will be demonstrating several different techniques using Copic markers to explore these different fabric types. We will be looking at this Marc Jacobs spring 2017 ready-to-wear look. As you can see, this look has a lot of different textures going on. And I will be demonstrating for you how to create the first slaves. The swayed body of the jacket, shorts, the print silk blouse, that patchwork brought up, those leather boots with the gemstones. And be sure you stick around to the end because I have some bonus content for you where I share how to do the skin, the hair, and makeup. So let's get started. 2. Class Project: Your project for this class is to follow along and render with me as I demonstrate to you the different techniques we use to create these various fabric types. But before we can get started and deep dive into each fabric type, Let's establish our color palette and which markers and pens you'll need to follow along. I'll see you in the next video. 3. Color Palette pt1: So I have my complete illustration right here. This is my drawing of this look from the runway, this Marc Jacobs, spring 2017, ready-to-wear, really fantastic look. For this class. We're going to break it down and really figure out each fabric because we've got so much going on here. If you take a look, we've got these incredible for sleeves. We've got a silk top with a print. We've got silk shirts that are causing a lot of great shadows and light effect, this detail on the jacket. And of course then we also have these fantastic boots that have Ryan Stones and shine and leather. So a lot of great details for us to dive in. But before we can start coloring in our illustration. And you're welcome to follow along or apply this for any other look that you might like. If it's specifically you're trying to understand how to color and render for silk satin prints. That's kind of our focus and leather with the boots. So to get started and to make our life easier because we have here a lot of color, lots of different fabrics, lots of different details, lots of color. You've seen in my different classes. I've also shown how to render skin tone and hair and makeup. I will be showing you that, but that is not the focus for this class. For this class, I really want to break it down. We will be working on larger images. These are copies. I've blown it up because I've heard your all's feedback. I really appreciate it. You want to really be able to see. So I tend to draw pretty small and I know that can be hard to see, so I've blown it up for you. So we're really going to focus on these areas and a much larger scale. And I've done the same thing for you with the boots. So we're gonna get into that. But the first thing we're going to do to make our lives a lot easier and to really establish how many colors we need. And for this look, we need a lot. So let's get started with determining what colors we're going to use. I'll be using Copic markers, as well as these multi liner pens I've recently discovered. They're really nice. And if you go over with pencil, you can erase pencil and it doesn't damage the drawing. It doesn't smear. It doesn't muddy it up. So these common are really great and a variety of colors. And I'll share with you some of the ones we'll be using today for this class. In this, I love this look so much. So let's take a look here. Let's break down really easily for us. First of all, these beautiful sleeves and I'll bump this up for us a little bit so we can see this lovely lavender. Hope it's fake fur. And it's just got, this is gonna be a really great exercise for us to explore the shadows and this kind of texture with our brush strokes that we can achieve with our Copic markers. So right away, I've picked up V2 and V2 one-to-five ash, lavender and pale Blackberry. And we're going to create a little sheet for ourselves to really make notes of all the colors we're going to need. So I'm just going to do a few brush strokes here so you can kinda see it. And I'm going to note for myself, alright, this is V2. Then we're gonna do the same width, B25. And note it. For the sake of remembering what everything is going to be used for, we're just going to make a note for ourselves. This is going to be for sleeves on jackets. So this is for, this is to help us break down all the colors. And when you're looking at the image that you've selected, and if you're working with me on this one, definitely download this image. I have it here on my iPad. It's really easy. Bump up the brightness and really take a look and examine using the colors you have. You might not have the exact colors. But if you have two that are similar in that they're neighboring colors, we're going to be able to create that shadow effect. So if you have a slightly different, two slightly different purples, that's fine too. If you are watching this class and then you're like, I'm going to place an order and I'm going to get the exact ones. These are the colors, so these are kopecks and I really enjoy using the Copic Sketch markers. The rest of the jacket, we have three obvious colors that we want to identify. And we have this purply brown, we have this light tan, and we've got this nice hot pink. So for that, and we're going to just keep on going here. So I'll be using RV 99, which is an Argyle purple. I love this color. It's so look at the richness of that. And as you can see, it's got the purple illness, it's got a little brown. So that's going to achieve that effect for us. And we're just going to note that there. Then for this tan color, I've got this E 13, which is light suntan, which is also really good for skin tones. It's gonna be great to achieve that effect here with our jacket detail. So we've got that right there. E 13. Then last but not least for the jacket is a pink. And the pink that I have identified that looks the most based on collection of markers I have I don't have all the colors. I wish I did someday. So I've got our V7, which is a deep magenta, which is kind of how I really would describe that color, right there is a beautiful deep magenta. So I've established that for myself. Rv 17th. This way, if my work gets interrupted, if I am having to move stuff around, I know which markers I need. Either. I've identified them for myself and I have a nice cheat sheet to come back to and to know exactly what I need in case I'm not going to be able to sit down and do this all at once. So I'm going to note this body of jacket. So now you know what you need. This is going to cover are jacket. Let's put a line through there and then let's carry on. Next. Big, I'm going to skip from the blouse because the boss has a lot of markers. We're going to come back to the blouse here in a second. But let's skip into the shorts real quick because that is kind of two colors that we'll be using. Right away. This shiny synteny, purply pink. I was able to find pretty quickly and I'm really excited about doing this. So the first one is V 05, which is a zillion, which already what a great name we lose zillions. And my grandfather has had beautiful is aliased in the art and I love looking at them every day. So when they are in bloom, of course, that is V 05. The next color that again will help us to establish the shading. In the case, just like with the sleeves, we wanna be able to have those darks and lights. So we're going with V12, which is a pale lilac. V12, pale lilac. Here we go. This is actually, even though it's a higher number, this is our lighter tone. So v5 is going to establish our darker shadows on the shorts, whereas V12 will be our base for those lights. And right away, we're writing short. Additionally for the shorts, we have a belt and we'll be using probably this fine liner pen for that detail is very small, as you can see, it's really fine. We might use some white gouache or white pen to get the little stitches on it to really capture the detail. So I'm forgot my shorts established. 4. Color Palette pt2: I'm leaving the blouse for last, because like I said, this print has a lot. Take a look at that. So many colors, so much is going on. And we have that little burrow underneath as well which will capture. So we're going to skip down to the boots, which in fact also have to be fair, a fair amount of colors. So let's establish here for us right away what we need to start off with. We've got this lovely purple leather. So I'm gonna be using the six lavender. Can always beautiful flower names. Got that noted. The six for the hot pink and the detail, unfortunately for the darker tones that are in-between here, the purple we're just going to layer on top. But for the hot pink, we're going to use RV 25, which is dog rose, flower. Again. Now the flower love these copic names. And we're gonna be able to build on that. So that's our pink. Now when it comes to the gemstones, as you can see, there are a lot of different colors, so we're going to have a few different markers. We're going to have some pens. And for some of those bright points, we're also going to use white, which I'm not showing you the white obviously on a white piece of paper, but those are details for the little highlights that we add at the end. So let's capture some of the blues we're going to be using for the gemstones on this platform boot, which so fun as you could see it in this little, in my drawing. It's pretty small detail, but we're going to play that up as we're bringing in the color. So let's go from our darkest blue here, we've got B9, D7. I'm gonna go across here, since we have so many colors. We're going to note here be 97. Our next blue is BG 0 too, which is new blue. And this is the lighter blue. And that's gonna get us some great effects to, again, there's just a lot of color going on there. And we want to be able to capture at all for some of the more bluish green tones, we've got BG 13, which is mint green, which you'll also see we'll be using with the blouse as well. Alright, BG 13. And again, don't worry if you don't have all these colors. If you don't have the exact colors, It's okay to work with what you have. You can always play up the colors that you have. But if you have at least a nice variety of some pinks and purples and blues and greens, some more neutral tones. You'll be able to follow along and create this look with me. We've got our green, which is next, which is that emerald green, and this is g five. Now, as it happens, so here's a perfect example. As it happens, I don't have really a Copic orange marker to establish to create that effect. Put it on my list, put it on my wish list the next time I getting markers. But what I do have from these fine liner pens is I've got these two oranges which caps are kind of misleading. So I'll show you, we're gonna be able to create this effect. So I'm just noting it for myself here is that darker orange? And here is the lighter. So we'll be able to create those lights and darks and achieve that effect as well. And really what is going to make us shine and pop is the white highlights. So right here, our boots. So we've noted that let's now break down. We'll do quickly the broad top, which will go back up here. It's kinda hard to see, It's very little detail, but fortunately, in our enlarge look, we'll be able to add some of that detail in to capture least some of the color, some of that effect to bring it as closely as possible to this. So let's look at the colors and the pens we're going to be using. So that brought up, we're only seeing a little bit of it, but let's note it for ourselves to start off with. I'm going to be using our V E9.5 baby blossoms for that darker center few some of those lines. The other pink that I'm going to be incorporating with it is E 0 for lipstick natural. This is really great for lipstick as well. Do recommend this color as a general one to have. If you're just trying, if you're just building your collection of kopecks, this works really well with. A lot of other colors too, and it is great for lips when you're trying to do a natural lip look. I would potentially use that for her lips in this look as well. For the liners that I'll be using. Since again, it's such a fine detail here and there's just these really delicate lines. So I've got a little black, which we'll be using throughout, in various other details. And then we've got some of these turquoise ones. So we've got the brighter, sort of aqua. And the lighter. Again, we're going to play with it to just kinda bring in as much of the detail as we can. So this is our I'm going to coin it as brought up. We've got that coming together. Alright, now let's address the top. As you can see at the top has a lot of details. Let's take a look at what we would use for that. So right off the bat or background is Bb, eight, blue, violet. And again, Cap doesn't quite match up color. Look at that rich, beautiful color. The next colors that I'm going to share, and it's quite a bit, it's seven different colors. It's just for all the detail in the print. And again, since I have made this bigger for us, It's still pretty small. We're not gonna get like fine, fine detail, but we're going to try and capture the essence of it. So some of the other blue violets that we're using, we've got BV 0 for which is a blueberry. And that's for some of that detail in the paisley. Then we have B, 63, light hydrangea, love this color. Also. All these colors are just so beautiful. And again, you see how we've got a little darker, a little lighter. That's how these complement each other and play on that. Let's go into our blue-green. So we've already had a look at PG-13, that mint green right up there. We're going to note it for ourselves because as you can see, it's in there. We've got a lighter and a darker tone of that. So we're gonna note for ourselves, use it. And then sister to that is BG 23, Coral Sea, which again is going to trip us up here, going up in the numbers, but it's actually a little lighter. And we're just noting that for ourselves. For this very, very fine light blue that we see here in little details. I've pulled BG ten, which is a, which is a cool shadow. And this is a very light color. Hopefully that's coming through. It's coming through the G ten and then our pinks, since as you can see, we've got a lighter pink and a darker pink along with these pretty purples and these greens and blues greens. We've got a fair amount of pink, so it all works together. So to start off with, we've already seen RV 17 at beautiful deep magenta. We're going to note it for you or for ourselves. And then our light pink is that our VT1? And it really is light pink. That's the name for this one. So this we're going to note for ourselves is our print blouse. Those are the colors. Go, we're going to be using for this look as we color it in. That beautiful look. Here is our color sheets. So screenshot this make a note for yourself of all the colors we're using. I of course will include this in our project description. It will be all there for you. So if you wanna get the markers and advance exactly which wants to get when it comes to the skin tone, which we're not necessarily going to focus on in this class, which should you want to know to create her skin tone? We would start with E 30 and then get the toner, the tone and the shade and the darker areas with F31. So Bisk and brick page and we would lay bit more because she's got a great tan. Same thing with the hair for those beautiful dreads that are wrapped and all these lovely ribbons and colors and stuff. We actually already have the colors. So you would be able to use RV 25. You would be able to use some of the blues that we already have, whether it's 63 or B9, D7, and some of the other pinks to RV 17, RV 21. So if you're looking to do the full lock and I'll show that to you. We actually already have those colors, but as we're focusing here on the entire look, specifically, how do we render for, how do we do these shiny silk shirts? How do we do this to hop that, this blouse that has all this detail in this print. How do we get those gemstones and the leather? We're going to break, I'm going to break all that down for you using the colors we have. And I will see you in the next lesson. 5. Fur Sleeves pt 1: Alright, so we're ready to begin. We're going to start with the first leaves of this suede jacket. As you can see, we've got this nice fluffy lavender for sleeve. And as we've already established with our color sheet, we know that we're gonna be using v2 and B25 to do for slaves on the jacket. So keep this handy. Once you have this, it's really easy to jump back and forth with the colors that we need for the area that we're working on. And we're starting with the slaves. With Copic markers. We have two tips, we have a soft brush tip, and we have a firmer tip. So let's take a look at those so you can see the difference. So we have the brush tip, very smooth strokes, but we also have the firmer tip, which we can do more defined the difference of those lines. So in fact, for our firm sleeves, we're going to use the farmer tip to really get those lines and portray the movement of the firm. And we're going to start with a lighter of the two tones. We're gonna go with that crisp edge tip. And we're going to, as we have already established in my sketch, the directional flow of the fur on these sleeves will help me when rendering or coloring in the sleeves. So things that you're considering is you're going to use that tip area right there. That's going to give you those crisp lines. And just like for is little hairs, you're going to start by simply drawing an upward motions following these lines that we've already established in the sketch and getting that on the sheet, this is a very light color and we're starting the base of the firm. This very light color. We're just going to lay out the first layer. As we're laying out these fine little brush strokes. What you want to look for in the image that we're getting. We referenced the direction of the fur and where we have the darker areas, where we have those shadows. Because that's where we're going to lay in more of the color. And we're going to come in with a darker marker as well. Which is really fine little lines. It's okay to leave a little room for some light to come in. Leave some of that white. It's okay, It's going to brighten our drawing and really help us create a sense of movement. And just little, one tiny lines. Just like the firm is in real life. When you sketch it out your drawing. I'm making these little notations of the direction of the fur. It's going to help you establish how you're going to lay that marker down. Just very gently with a lighter color here. There's room for us to play. You're just building those layers of the fur. And we know that it's darker here because there's the shadow of the ribbon from the blouse. Already put there a little more color and same here. Against the jacket, it's going to be darker. You can already establish that for yourself. As you're going through freely, fine, tiny lines. And again, you go back to the beginning. Here we have it's the lightest. So we're not gonna put too much color. We're going to build up where it's darker. You keep reverting back your reference image to help you establish where it's darker. And that's where you're going to keep layering more color in the direction of the fur. To really establish that sense. The lights, shadows were seeing any image. Just like that with the tip of the brush. It's very painterly. One of the things that's really beautiful about the Copic markers, which gives you a watercolor effect. So you can really build on it. You've got these texts, layers and layers. And I'm just repeating same small little lines. And I'm going darker and places where I've noted for myself, it's a little darker. And that's our first layer of fur. For the sleep. We can now move on to the other sleeve and repeat the process. We're starting with those lighter lines on the outer edges where we've got that light reflecting, where we know it's going to be darker. We can spend a little bit more time and add a little bit more color. Just really fine. Little tiny lines in the direction for that reference image nearby. You're constantly checking in, making sure you're establishing where it's darker for yourself and where it's lighter. This far, has this really nice. We're going to assume and hope that it's helpful for. But it's laying very nicely. And we've got some nice texture going on here, which really this look has a lot going on and it makes it a lot of fun to explore the different types of fabrics, materials, Textures. And then of course, that really elaborate print on the silk top. Just keep going. Tiny, tiny little lines. Really relaxing. I think. Just follow the firm. Again. We're going back up. Start where we know it's darker. Already added that additional layer. With the same. We're still using v2. That it's a little mad down here. So let's show that. Let's guide the movement with our brush strokes. It's darker here. You're just going through. Have fun with it. Follow the reference image. They more color words, darker. Movement with every stroke. Wherever you think you need a little more color in there and just do those tiny little lines you are drawing. This is your time to connect with the color. Brushstrokes. Have fun with it. Alright, so our first layer, and really our second layer that we established as we're going through it is done. 6. Fur Sleeves pt 2: Done. Now we're going to reach for our V 25 and again we're going to use that harder edge tip. I'm looking over at our image that over so we can see the darker. Closer to the jacket, it's darker. So this is where we're going to add. These two purples really complement each other, your sister colors. So they can really help us establish the depth and dimension that we want in our fur. And we're gonna be able to build on top of this even more. Little tiny brush strokes can be really very, very detailed textile to create. But it's so worth it because it really brings in great texture. The overall look of your drawing. Following the direction of the, It's all kind of pointing down, going where it's darker. We know this shadow right here so we can lay that down. But still in the direction of the fur. They're not neglecting the direction of the third, even in the shadow because it is all connected to that. Those tiny, tiny, tiny, tiny. Again, I'm using that sharper edge, really layering in that color. And then we can go back to the top and make it even darker. That nice progression is what creates the illusion of the shadows. So we really want to go in now and where it's darker, I'm going to go darker. But again, you want to maintain these lines because these lines repeat. And there, What's art? That's what's creating the texture for us. And bringing more for to life. Not to be mean to the animals. We love animals. We hope that this Marc Jacobs use some very nice fo for these leaves. Again over here where we've got that nice shadow. And just keep going. Stop wishing for a little darker here at the bottom of the sleeve. All right, we can have now to the other sleeve and again we'll pull that up so we can see it again close to the jacket lapel. It's darker. That's what we're establishing our darker hues from this beautiful lavender. And if you don't have these exact colors, It's totally fine to work with two other purples. If you've got two sister colors that are close enough where you've got a lighter hue and a darker hue. That's what's going to help you establish your lights and your shadows. To really capture the firm. I don't want to just keep peeking over at your reference image. Making sure you haven't lost the direction of the fur through the easy to get lost. In these tiny little brush strokes. It's okay to leave space for the light to come through the lightest of the white on the page. So relaxing, right? Well formatted down. We know it's darker. Gently. Notice I move around. Overflows. Redrawing. Fun with it. Have fun with getting comfortable with these brushstrokes. Shaper for, and let's look it over there anywhere we want to add more, we might want to go a little darker here. Darker here. Little places where I've marked for myself that I might be a little bit more color. I'm just going in adding a few more. And there we have it. We can come back in and see if we want to blend a little more here. If it's seeming like the difference is to store too much contrast, we can go in and just kinda with our lighter VT2. Just go in. When were you feel a little bit more? Just to blend it in with all of these loose ones at the edge. And there you have it. The first of our textures, text styles, fabrics of this look. The first leaves, it's complete. I will see you in the next video. 7. Suede Jacket: Alright, so we've done the sleeves of the jacket and now let's do the body of the jacket, which as we've already established for ourselves, the three colors that we're going to be using. Our RV 99, which is Argyle purple. We've got ether, which is light suntan. And we have our V7, which is deep magenta. So that's the body of the jacket. That's a handy little tool for us. Now as opposed to the first leaves. For these details, we're going to return to the brush tip of our markers. So I'm going to, I'm going to start with E 13, light suntan with the brush tip. We've got our image here. So we've got a little bit of shadow to play with. The areas you can see are pretty small. So I'm just going to lay the first. It'll color on both sides very gently. I love the brush tips and we know that it's a little darker here. There's a shadow from the lapel on the call or rather. We're just going to lay in some more color. Let that dry. We'll go to the other side. A little bit of shadow there. It's a suede. We can kinda do these little brush strokes going to come back and let that dry while that's drying. And we'll see if we want to add more to it. We're gonna go to the bottom part of the jacket, this border band, and add our magenta, which again has a bit of shadow. So we're gonna go a little darker on the edges and where we've got that little bit of light, you know, leave it again since it's appears to be a kind of a suede of sorts. We can do these little brush strokes to get a little bit of texture. And this guy's kinda hidden. We're still going to get them in there. It's much darker shadow on it. All right. We'll let that dry. We'll go back to our suntan and add just a little bit more color here and a little bit more. What are magenta? Dry, but we already can tell until I want to add a little bit more here. Then a little bit more there. That blend in nicely. Final color of our jacket is RV 99. It's that Argyle purple, beautiful color. We're going to lay it into our jacket. And we're going to leave some where we have the light hitting, hitting off of hearing what's this blue light, but we're still going to leave a little bit of light there for us to create a bit more. So we're going to start with, again, small kind of gentle brush strokes at the edges. And establish for yourself that shape. We're going to have around here that we're going to leave to capture that light effect. Again, since it's suede, I'm doing these little tiny brush strokes for that texture. Our color. We're going to go into the body now, we have to be careful because as you can see, the, we have the blouses, tie strings. The blouse detail is overlapping the jacket. So we wanna make sure we don't hit that with any of this color and we have this area that's really dark. So we'll go over this section a couple of times. And it's a little lighter here. You can already be going over it. As we're going through. Again, those little tiny lines to establish a texture of suede softness. In going over to the other side. And again here we have the color of the blouse. Want to make sure I avoid that. We see how it's overlapping the jacket. Again, we're going to establish a few light points for ourselves. Very careful. We've got the hair here. I'm not showing in this portion of the class, but at the end of this class, I will have a few bonus lessons for you where I render the whole load from start to finish. And a slightly smaller scale. You'll be able to see hair and makeup as well, as well as skin. Now again, we have to be really careful because we've got that D2, the jacket and the blast, almost merging. We're working on a jacket. Again, little brushstrokes. Paying attention to where we want it to be darker or lighter. Adding that texture for us. Okay, and now we can let that dry. And that is the body of the jacket of this elaborate piece here. And now we can move on to the shorts. And I will see you in the next video. 8. Satin Shorts: Alright, so the shorts and the SLK appear to be silk or a satin, a very shiny material. And we've got a lot of light and a lot of shadow and a lot of kind of ripple effect on the shorts, as you can see. So again, similar to the way we did the sleeves, we're going to start with the lighter color and build up our lights to our shadows. Checking again our color cheat sheet, our reference. We know that we're gonna be using the O5 and V2. And V2 is actually the lighter tone that we're going to start off with. Youtube is pale lilac and V5 is the cilia. For the other detail of the belt and the stitching, we're going to use a just a black fine liner pen. And I like to use the unique posca white pens and this one's a one. I'll show you the tip. This is really very helpful for details, highlights in the eyes as well depending on the size that you're working. So we'll be using these two as well. So grabbing V12, we're again going to use the brush tip of the marker. And we're going to work in the direction of those lines. And we're gonna work from dark out. So we can establish some of that brightness. Starting from the bottom here where it's darker. Kinda think as you're doing this, as you're rendering, it's really important to look at the direction of the fabric. So here we've got this upward motion and trying to get in some of those details and those lines, again, let's say you're drawing so you have to decide how much of it do you want to include and what is important to you. But we are trying to create a somewhat realistic book. So we're going to make sure we're really focusing on some of these lights and shadows going in the direction of the fabric and the movement of her legs. So coming out here, here it's much lighter. So it's very broad. Brush strokes like that. That's gonna give us this nice white edges. That's really going to help convey the shininess of the fabric. We're just looking in the image and we're examining and observing where it's darker and where it's lighter. And using this lighter color as our base to establish those details. And it's darker here. I'm going back in for another layer. Might have more detail here. Get that ripple effect. And this is where we're going. And blending. As we're going through. Here is much darker. We can't quite see it in my sketch, definitely not establishing where it's darker. And we're building it up. Because when we lay down the darker color, It's going to really make everything pop. And that's what your reference images for. Help you kinda see. Where you need to go darker or you need to go lighter. Establishing that for yourself. Darker here. And sentences sat in a kind of a silk. These quick brushstrokes, the marker gives it a nice flow. Now we can go with our darker V5 are a zillion, again, the brush tip and will already start where we know. It's darker. Wherever we know it's darker, That's where we're going in my lane. Another layer to help us establish because that contrast, again, you're using the brush tip. That's going to really help. I have some lines here that are helping me establish where those shadows are, where the folds are, creases that are happening on the short from her movement and from the type of material that this is. Again, seems to be to me, like I said, any kind of setting or silk, probably a silk. In fact, if it's Marc Jacobs and it's runway, you're going to see some of the nicer fabrics. Now we don't want the white contrast. At least I don't, because the fabric isn't entirely like. It's just very bright from the light. So very gently, I'm going to go in and just do a light layer where I feel like I want it to be a little less dramatic. And we go back here and see if there's any place where we want to go darker. So that gives us a nice shine. Now let's make the details really pump. So we have a little black belt. We're just going to use the pen here. Color that in. That's that detail. Now the fun part, so we're going to read for our post that you want to shake it on a scrap paper handy. There's my scrap paper because we're going to do a little pressure after I shake it. But we wanna make sure we get the excess out so it doesn't smear for us. I'm just pressing it, making sure it's not losing out. Here's where we can get some fun detail. And so we've got the buckle. And then we've got these little stitch marks. And just loosely suggesting little details. And since the stitching is white, we can also do that in bringing a little more detail into her shorts. Tiny little stitches. It makes it pop. We observe again, where do we have the stitches? Well, we've got them with pockets are sewn. The handle of the shorts. I'm just doing tiny, tiny little stitch lines. Looks like dance. And it's a double line for the fly. So I can go in and do the same thing there. We've got at the waist band, we've got it at the belt. Really bring everything in. Sight seems they're a little bit into the shorts. There you have it. Those are our silk shirts for this look. Now we can move on to the ballot. I will see you in the next video. 9. Patchwork Bra: Alright, so we have this cute little bullet that has a lot going on as well. We've got prints on patterns, on colors, and we've established for ourselves the colors that we're going to use for the broad topics. So let's take a look at them. We're gonna do RV 95, easier O4, and a few pens. And potentially the white if we think that's necessary. Grabbed these colors. Again, we're going to work with brush tips and some pens. Here. It's really small detail as you can see, there's kind of a patchwork if it's lines and a whole bunch of stuff going on. So here you can kinda be more free with it. So I'm first going to start with RV 95. And that is the slightly cooler color of the two baby blossoms. And again with the brush tip. And I'm going through and I'm saying, okay, the center square seems to roughly be that kind of color. We've got some lines here and there. So don't drive yourself too crazy with this one. It's really fine detail. We're just going to lay that in. And I'm going to grab E 0 for, and we're going to establish that the square over here, they're gonna look kinda similar while they're drawing. Don't worry about it. We will see a difference here shortly. I'm doing some lines for myself here too. Again, lots going on. So we're just trying to convey it. We've got the black mixing into this upper square here. I'm going to leave some space for some of the green as well. So kinda have fun with this, trying to figure out the pattern. I've got a light blue and turquoise aqua feeling. So again, I think that's happening. I'm going to put some color, the light blue. Then again with some turquoise. Here again, don't have to drive yourself crazy with this one. We have so much going on with this. Give me, I want a little bit more black here. Kind of patchwork. Want to go in with a little bit more pink here, a little darker for cells. Then I'm going to grab a Copic multi liner. And since we have some stitching, even though I already have my dark lines established, because I'm working on a copy, which does make my life easier. We're just going to add that and we can add, this is a 0.1, it's really fine tip. So I can do little tiny stitch marks. We can kinda see there. We can give me the sense of what we're looking at. And this is really tiny little detail to capture. The top. That is it for the little brought up, We can barely see it. But we want to at least establish that it's there, bringing the colors. So it works with the whole look. And I will see you in the next video. 10. Leather Boots: Okay, so before we continue with the final piece of that look, which is the blouse, which has a lot of detail in it. We are going to jump into the boots, which are a little easier and we're going to leave the, the best for last, if you will. For the boots, we have again, a lot going on, lots of color. Let's revert back to our color sheet. And so we know we're going to use v 06 RV 25, B9, D7, Vg vg 13, G 052, orange liner pens, as well as any white for those highlights, which again will be with the hello stuff. So I've got that next to me to remind me of what colors I need. So the first area we're going to work with the main area of the boot. And we're going to be using v 06, which is lavender though. I don't know. I always think of a lighter color for lavender, but it's a beautiful purple. And it's just what we need for these boots. So using the brush tip, we're going to start by establishing the direction. This looks to be a leather. So we are going to have a bit of a sheen to it and we're going to add in some of that white later on at the end with a prisma colored pencil, a white or a French gray. Probably a way. Just to give that chain you can leave You could leave the sheen with the white of the page. I like to add it on top because I think it gives it a little bit more body. Then we've got the D2 over here. And as you can see, there's like a pink, pinky purple and the purple. So we're actually going to layer with the purple and the pink to get the pinky purple. The purple. I'm going to do a couple of layers of this color. I'm going to leave that lighter and this will be darker. So we can establish the difference again with the boot. So I'm not going to worry about that white. Again, if you want that line to be the white of the page, mark, space it out for yourself so that you leave it, Something like that. Then you can come back to it. Like I said, I like to add it with the Prisma. We know the edges are darker. Again, I like this direction because it's got this nice roundness. We have where the zipper is. Again, really observe, follow. I've made some marks for myself where there's some little folds, leather as she's taking a step. And I'm establishing that with my brush strokes. You see, even though I left it white, but then I went over it. It's already giving me that sheen and we're going to play it up with the white person and not the white posca. Because I think that's too much of a contrast and I like the softness that I can achieve with the prisoner. And fortunately, Prisma and Copic play very nicely together. So again, to establish darker purple, I'm layering a little bit more, lending that in. We've got a lot more sort of gathers there because she's legs in the back. Nice shine. And I'm leaving this letter because I'm going to go with the pink on top of it. So grabbing RV 25, which is dong rose flower, if you guys can see it. There you go. And that's going to be the center D2. And again, we have some great highlights here, which again, you can leave is used the white of the page. Even if you take a pencil and mark it out for yourself or that's gonna go so you don't color in or Prismacolor. So again, that's up to you. That's a personal choice. I prefer. Well, it really depends. I got to say I vary it up. I don't always it's not one or the other for me. It just depends on the vibe I'm going for. In this case, I'm going to show you how I achieve that with the Prismacolor. Because again, we've got quite a bit going in the direction of it. And now we were talking about how this is a pink purple, kinda what it looks like, it's blending the two together. So I'm just going right on top. That's going to dry really nicely. I'm gonna go in and do some more of this pink. So allow that to dry it. Now, down here, the platforms, as you can see, have tons of gemstones, which are really awesome. Since I don't have orange kopecks, I'm going to be using the multiline are pens. Create the first columns, gemstones. And again, grabbing my sheet, I'm going to make sure which is the that's the lighter one with the neon would. And this is going to be the darker. And I'm going to use the two helped me establish where the light's hitting and where the shadows hitting. So starting with the lighter, I've already got the lines to establish the direction. We've got two columns of gemstones. So I'm just going to do vary. Again, it's kind of abstract here. These little details, little circles. It's okay if there's space in between. For the light. Again back here it's much darker, but we're going to first do the top layer and build those little circles with a lighter orange. Here. I know that I can kinda add the areas off of it to establish where it's lighter, where it's darker. Here is really just because it's in the shadow, it's behind her legs. She's taking a step. We can kinda go through it when it comes to all the other colors that we're going to do now, we're going to take a look at our sheet again. We've got these 42 blues and two greens. So we're going to play on that. And we're gonna go with the lighter blue to start off with. That's what we're establishing, is next to the orange. And it actually only looks like one column. So very gently just little gemstones. You're kind of creating the idea of this detail. And again, we're repeating it on the other one. And it looks like we've got some green. And that was BJ Z12. And I'm going to grab G 05, which is the emerald green. And it looks like we might have a column or two. So we're gonna do a couple here. Again, we're trying to convey the color, convey the gemstones, establish that for ourselves. Creating the illusion. It looks like it goes a little lighter again. Now I'm going to mix it up and go with Biji 13, which is the mint green. Play it up a little bit. Make it fun for cells. And finally it will go with the darker blue, which is B9, D7, and night blue. Again with the brush tip. What's great about this brush tip is you can really just gently create those little dots. And it looks like it probably starts repeating, but we're not going to get fancy with it. Put a little more blue there. So I've got my gem stones laid out. And now again, grab that, grab that UniProt SCA, grab the white, shake it. Press picture. You get the excess. And here is where we can just kind of put little pops of light to make the gemstones pop a little more. For us. Even back here. There's a few here and there where the light is picking up. We're gonna do the highlights on our boots. Before we wrap up the boots, I'm just grabbing Prisma white PC 938. If you use prismacolor pencils. And we've talked about In this highlight. So we're just going to lay that down. We have a few over here. I'm just going to make a note of that here and there. Add a little bit of where. I want to show that. Again, this is up to you how much detail you want to add. The highlights, how realistic you want it to look or how much you want to play with it. It's up to you. It's your drawing. Have fun with it. Establishing. We will highlight, really ties it all in, brings it back together. And I just love how with Prisma I can kinda have fun. More suggestive, more abstract. And it's not as harsh. You can do the white of the page, like I said, and that's gonna be really cool as well. There we have it, our boots are complete. How we can go and take a look at the blast. 11. Print Blouse pt 1: So now it's time to address the blouse. We have a print silk blouse with a very, very intricate design. We've got Paisley and flowers and multiple, multiple colors. So we are going to address how we're going to convey, portray. Get those colors to give us as realistic of a field as we want and would like it to look, you know, we're not going to create this exact print. There's so much detail going on. And even on this scale, the idea is to bring in the vibe, the sense, and the colors, because the colors are really what's telling us the story and how we're going to establish that. So for starters, let's take a look at colors. We have for the blouse, several colors. We've got BV, BV 0 for this is R. This is the blouses, the background, everything else. Our details of the print, as well as make sure you've got your topic or some kind of liner pen, because we've got nice outlines that we wanna be able to establish as well. And if there's any black detail that you'd rather color in with a slightly thicker pen. Something like this, like a fine liner but a little thicker over tip will work as well. So have those on the side there, and these are our colors. So be 63, BG 13, be G23, BG ten, RV 17, and RV 21. You were you may recall that we've actually already used some of these in our look RV 17 we used in the jacket, BG 13, we used in the boots. And that's about it. I thought we had one more, but we don't. So that's actually going to work in our favor because it's going to tie it all together and make it look more cohesive. So I've pulled my markers. For this technique. We are going to be doing it all marker. We're not layering with Prisma or anything to establish the print. So it's going to be very fine. It's a little fiddly, but it's a lot of fun. Once we get it done. For reference purposes. Here is on the smaller scale that I prefer to work on myself when I'm creating my paper dolls. And as you can see, I've established the color, the flow of the print. Is it exact? By no means? It is by no means exact. But it gives us the sense it brings in the color and it plays on the look. So if we were dealing a really large scale and you really wanted to bring it every single detail of these flowers. You could. But we're not gonna do that for this fashion illustration sketch. So to start off with, with pencil, we're going to make some marks for us throughout the ties and the body of the blouse where we know we're going to put down some of the color, put down some of the shapes. So again, here you can kind of pick and choose. You can do all of it. You can print out this image and using your light board. You can kind of shine it through and really outlined every single detail. And that option is there for you, especially if you're working on larger scale for this scale and for the vibe that I'm going for, I'm not too concerned with it looking exactly perfect. I'm more concerned with establishing the color, the flow, and the movement of this silk print blouse. So let's make some marks for ourselves of where we are going to have certain flowers. And so long as we repeat certain colors next to each other, it's going to draw the eye to the shape and do the similarities. So starting here on the tie, we've got some flowers. General little markings here for myself. The shapes. It's like a print with Paisley. I mean, it's really quite, it's quite intricate. It's, it's beautiful. It's a really beautiful blouse. And I really love how this look. There's just so much detail and so much going on. And it's just really kind of a lot of fun. I really like these little squiggly flowers. And then they have the squiggly around them. In this. We're using these to kind of really pretty blues. So I know that I want to make sure we can see that. Then we have these cool pink shapes for ourselves. So as long as we're getting kind of a general sense, we're gonna be alright. Long as the colors are there. Kinda all going to come together for us. I'm just laying out general sense like up here. We have again, kind of a flower within a flower. Then these Paisley Things. And again, you can decide to your drawing, how detailed you want to be, how much you want to capture. I can't wait to see what you all come up with and how you approach. How much detail you, you're sharing of this blouse because there is just so much detail going on. And again, here we have in the body of the blouse away you can see the pencil will see it as well. As I'm rendering it. It's pretty blue flowers. I like these with their little flame thing. I'm kinda just doing very general lines for myself. So I know the colors. And who's getting together with what? Scale is important here. So try to work within the scale of the blouse. But again, don't drive yourself too crazy. Fun with it. Decide where you're showing, what, how much of the detail, and so on. And I'm just kinda making general little marks that I know. How much color, which color like here we have this really over here, we have this really cool shape. And it's got a lot of that turquoise. I want to make sure we see that. Because again, it will draw us in. Our eyes, will fill it. Fill in what's missing. Now here we have this really big Paisley that we're going to do the best we can to recreate. So we have this interesting shape. And we got a few little pink flowers that I'm going to note there. And then we have this curvature and this guy is probably the most pronounced detail that we had. So I'm going to try and get it and of course this piece right here. But again, don't stress it as much as the T2 as feels right to you. Alright, so I think I've laid out enough of the print that I want to play with in terms of laying out the color. And now we can get started. 12. Print Blouse pt 2: So since we have, like I said, a bunch of colors, we're going to revert back here to the pairs. The kind of work together. So be 0 for B6, D3 are a duo. We kinda see them in these flowers here. So we're going to, Those are the two I'm going to start with. We've got that cheat sheet to keep playing with. And again, funnily enough, maybe it's not funny. Again. So B6, D3 is the lighter. Bv 0 for this blue violet is the darker. So just remember when you're adding that color. And so we're going to start with the 63. Here. I'm going to employ a much more abstract almost pointillism technique to drop in my color. I'm not trying to go into some crazy amount of detail. Not the vibe. I'm just going wherever I have. This light, lavender blue. And putting down that color doesn't have to be very crazy at all. Delicate little details. And we'll outline some of these flowers as were once we're done with putting down the color. Alright, so I think I've got it in enough spots. I'm gonna go with BV 0 for which is the darker one, which is the code is going to hit me up close to this one. And just dotting it in there. I realized I missed one here. So I'm going back in. The next Duo of colors are going to be working with together our RV 21, we have that light pink and RV 17. So as you can see, we see them throughout the print. So we'll start with a lighter, which is RV 21, which has a light pink. And again, where I'm kind of observing it hangs out pretty close to the light blue we just worked with. So we're making sure it's nearby as well. I can go in with a darker pink, which is the RV 17, the deep magenta. Alright, now we've got our three kind of blueish greens. B23, B23, and Biji ten. So start with the lightest, which is BG ten. And again, bring it in where where we see it. Anywhere that we missed what we're going to go back in and we've missed any of the colors that we'd like to include it. I'm going to grab PG-13, which is the Coral Sea, which is kind of it in between. We see that a lot next to the pinks. We want to make sure we're placing them together. I'm going to have to come back there. I miss some of the pink there, but that's alright. Some pink here too. So we're going to come back to that just making little notes for myself as I'm going through. And again, kind of abstract, painterly. And then reaching for PG 13, which is the mint green, the darker, but also kinda similar. Anyway, we want to put in a little bit of that detail. Let's go through where missed some pink here we've got these darker flowers. Grabbing again, be 63. Some of it in here to outline of this flower. A little bit more darker pink. Alright, so that's roughly my print. Now what we're going to go into the background with B's eight. We have here for the body of the print. And again it's a silk. So we're going to use the brush tip and just fill it out really gently where it's around the print. You can kind of get in there. And a painterly manner here. I didn't even bother to on the phone here and it's swaying in the wind. So that movement, we're just going to allow that to be. Like I said, it's very fiddly, very delicate. Here, the color, the blouse. I'm noticing in here, I'm missing a little bit these tones, so we're going to make sure we give it a whirl. Alright, now we do have some black here. I'm kind of in the flowers. Just go through and see where we want to add that. Then with our fine liner, since we have kind of outlines everything to make everything pop very loosely. Some of the shapes that we establish. We can kind of go in with the pencil and create that for ourselves. Adding in those final touches. There we have it. That is the print, wild silk print blouse of this look. And I will see you in the next lesson. 13. Final Thoughts: Well, my dear fashion students, that concludes fashion illustration, how to create various fabric types using markers. I look forward to seeing your final illustrations in the project gallery. And as always, if you have any questions, comments, or concerns, please feel free to post them in the discussion board. If you're on social media like Instagram or TikTok, feel free to tag me in your final illustrations. And as always, I appreciate your feedback. So please leave your review if you've enjoyed this class. And be sure to stick around at the end, I've got some bonus content for you until next time. Thank you so much for joining me and I'll see you in my next class. 15. Bonus Content Fur Sleeves: Hello.