Fashion Illustration: How To Draw Images From Magazines

1. Introduction: Hi, my name is Morgan Swank and I'm an Illustrator living in Richmond, Virginia. In this class, we're going to go further into the field of fashion illustration and we're going to talk about how to take an image you see in a magazine and translate that into a fashion illustration. This class is great because it helps you take what you're seeing on a page and creating that into artwork. A lot of times when we're drawing the human body, we have images in our mind of what the human body looks like. We also have images or symbols in our mind of what different sorts of clothes look like. This class is going to help you break out of that symbol lifestyle of just drawing bodies a certain way and drawing clothes a certain way and this class is really going to help you start learning how to draw clothes as they are in actuality and not as you're seeing them in your mind. We're going to use tracing paper to help us kind of break down the different shapes and pieces that we're seeing in the magazine. We're going to take that tracing paper and we're going to use that as the template to draw our illustration on our Bristol board. So this class is great for you if you ever just really struggled with translating something you're seeing on a page to your drawing paper. It's going to really kind of break it down into a really great way that's easy and simple. I'm so excited to share this class with you. I hope it's super helpful and I can't wait to see the projects you create. 2. Supply List: For this class, you're going to need several magazine tears, I have three. I'm using a full body, a three-quarter body and a head. You can just find something that you want to draw. Then you're going to need a tracing paper. I use Strathmore or just something pretty basic you can get it at a local craft store. Then I also use Strathmore Bristol board, it's smooth, 11 by 17 inch, and I just really like the size for fashion illustration. I will usually draw up and down like this, or if I want to flip it sideways for a larger illustration that works great too. Then you're going to need a mechanical pencil and a kneaded eraser. Then a Micron 005 pen, this is the main pen I use. You can also get heavier weights if you want to play around with those. I'll also use those in illustrations from time to time. In this class, I have also used a paper mate pen, felt tip pen. I don't use this at the start, I'll use this at the end because I don't really want to rub with my markers over it because they can bleed. Then you might want additional normal drawing pencil, and that's if you want to take the trace and then put graphite on the back of it and then flip it back over and trace it around. If you don't want to do that, you don't need to have an additional pencil. Then you just need an assortment of markers. I used E00, E11, and E13 for the skin tone, and then I have other colors for the outfit. It's not necessary for you to buy Copic so you can get whatever markers work for you, or whatever you have on hand and just use those. Those are going to be all the supplies you need for this class. 3. Outline The Body: In this lesson, I'm going to go over a quick recap of how to outline the body. I'm going to use this girl. She's pretty much straight up and down. She's wearing a jacket and a skirt. What I'm going to do is I'm going to take my tracing paper and place it directly over the magazine tear. I'm going to take my mechanical pencil and I'm just going to start at the top. I'm going to outline the shape of her head. Put in her ear. We're going to go straight down into putting in the neck line. We're going to follow that line down around to the shoulders. We're going to put in the main points similar to my first class on how to draw the body. We're going to put in the head, the neckline, the shoulders, the bust, the waist and the hips. With this drawing, you're going to not want to go all the way to the edges of the outfit because obviously the clothes are being layered over her body. Draw closer in. [inaudible] draw a line down from the neck line to the bust and then the bust to the waist and then put the line out from the waist to the hips. Now we're going to go put in her hip bikini line. We're going to draw the line straight down to the knees. Now in this drawing, the knees are going to be about right here. You can see where the fabric starts to switch a little bit in a different direction. That's where her knees are going to be placed. I'm going to put the line straight down and do my little knee cap line, go down to the ankles, put a circle for the ankle. I'm going to just draw the shape of the foot. We're going to do that on the other side as well. Down the leg right where her ankle is and then we're just going to draw around the shape of the foot. Putting in her arms. See here you can see that we have the start of her body. I'm going to put her arms in. We're going to circle round. Lift her chest up a little bit. Make it a little narrower and lift the shape of the chest. From down, we're going to curve around the ball of the elbows. If you want to have more detail on this, check out my first class on how to outline the body. I go over this in greater detail in that class. We're going to do the same with the knees, we're going to circle down and around both legs. We're going to do down on the calves. Now the curve on the outer part is higher up than the curve on the inside of the calf. It's a little bit too curved. We're going to do the outside of the calf. It's more probably a straight line down on that other leg. It's going to connect that into the feet. Now what we're going to do is we're going to take Strathmore Bristol paper. We're going to lay that down and then take our trace. What you can do is you can either directly trace side by side or you can use graphite pencil and you can rub over the back of the drawing and then flip it around and then draw on top. What that will do is create the outline for you. Remember the most important points, shoulders, bust, waist, hips. You can see that it's pretty straight up and down. What I'm going to do is I'm going to start at the top. I'm just going to draw in a head of similar size and shape to the one on the trace. What's great is you can lay the drawing side by side. You can use that as a good rough estimate of where things are supposed to land because you can look side by side and make sure that they're lining up on the same lines. I'm going to put in the different points. I'm going to start drawing in the shoulders. It's like a little triangular wedge connecting the points again just like we did on the trace. We're going to put in the bikini line. We're going to put the line straight down again for the knees. Straight down following the angle that the calves are at. I'm just going to quickly draw on the wedge for the feet. Just a little off screen there. We're going to do the same thing where we're curving the knees down and around. We're drawing the calves similar to what we see in the trace. Doing that on the other side as well. This just makes it simple because you can just directly draw what you're seeing to the left onto your drawing on the right. We're going to put in the arms. It's directly across from her waistline. Just make sure you're following the right angles. Right angles are, I mean, the correct angles for where things are placed. You can see that her elbows are directly across from her waistline so we're going to put them in there. Curve around as you see here and then put those behind. That's how you do the outline. 4. Penciling In Clothing : In this video, I'm going to go over how to draw the clothing on the body. We're going to put our drawing right next to the magazine pair, and now what I'm going to do is I'm just going to lighten what I penciled in on my paper just so that I can add in the clothing lines, and I've already taken off a little bit of the graphite. This is why when you're drawing, you want to make sure you're drawing lightly. You don't want to be pressing into hard to the paper because a lot of these lines you're going to want to be able to erase. When you're drawing, make sure you're using a light touch that can be easily erased with either the pencil eraser or your kneaded eraser. The first thing I'm going to do is just look at the drawing, see what I'm dealing with, the shape of the jacket. I'm going to start with just the center. I'm just going to start with the center line. I'm going to draw down the neck into the V of the jacket. Then I'm going to go up around the corner of her neck. I'm just going to follow the lines. I'm going to draw it a little bit over the central line where the jacket overlap. I'm going to draw the line down, look at where the hip line is and then look down to where the jacket ends. Then I'm going to follow the angle of the jackets. It's slightly angled down towards the center. It's easier, you can always fold the side of the magazine so that's sitting even closer so that you can just judge directly across. You can see line to line. You can make sure that you are putting things down the correct length. I'm going to put in a little bit of the shoulder cap here. Now what I'm going to do is I'm going to show you, if you're having trouble just automatically starting to lay stuff in that you can go over, put your trace back on the body, and you can go around and trace out what the clothing looks like. Just follow the lines, drawing the lapel's here and this can sometimes be helpful if you're having troubles just trying to isolate what the shapes look like, is just to take your pencil and start drawing around on top of your magazine tear. I'm just going to do this for a little bit. Let me draw the lines a little lapel's, the V downward over lapse, drawing her jacket shape, shape of the belt, and then her shoulder shape and the shape of her shoulder pads. When I pull it off of the magazine scan, you can start seeing different shapes that are happening. This is just really helpful to be able to wrap your mind around what the different shapes look like. I can see that I do that a little bit wrong up there on the one lapel on that side. I'm going to fix that. Then if you want to, you can start drawing the shapes from your trace and not from the magazine tear. You can go and just look at the trace originally and then you can jump back over to the original magazine pair. Put the neckline around, go over to the shoulder blades and then start drawing in some of the points on the jacket. Drawing up over on the color. With fashion illustration, sometimes you can exaggerate shapes a little bit. Lapels can be exaggerated. These can be exaggerated, meaning that you can draw like a V neck deeper than what it would normally be in the photo. You can draw the lapels a little bit larger than what it might be in the photo as well, and the skirt can be fuller. All these things can point out interesting details and dynamics that are in the magazine tears. Just like looking and seeing what are the different shapes and making them a little bit more dramatic is part of the flare of fashion illustration. When I put the sleeves in for the jacket and put little squiggle where the creases are in the elbow. I'm just going to draw the jacket down and then I'm going to follow the shape of the belt. It's a slight curve upward and that's pretty thick belts. We're going to draw the outline and then there we're going to draw the line down and around for the bottom of the jacket. You can see I'm just tracing and following the lines pretty much. I'm going to put the little pocket in little dot. Draw the shape for the pocket, and draw the corresponding pocket making sure that left to right sides match. Putting in some of the creases in the turtleneck and there's a seam down the front. Then there's all different change of shape or change of color. Looking again back up and seeing that under the bus, there is a little bit of decreasing and gathering. I'm going to put in the button holes on the jacket, drawing the belt buckle and then looking at the shape of the leather and using a pretty simple pattern of, there is a slight V and then there's a straight up and down shape. I'm just going to create a consistent pattern that I think looks similar. I'm going to do this V shape and then I'm going to do a straight line and a V shape and a straight line so that it's consistent, has a similar visual quality to it. Not going to worry about it too much. It's not something that I want to really draw a lot of attention to the specific weave of the belt. I just need something that look similar. 5. Penciling In Clothing Cont.: Continuing with the full body clothing sketching, so we're going to move down now to the bottom half of the drawing and we're going to work on a skirt. There is a straight line seam coming down from the skirt and then what I'm going to do is, I'm going to start on the edge of the legs and draw the flowy shape out to the left. That might be a little bit too flowy, I might bring it in a few seconds. But what I'm going to do is, I'm just going to try to follow the lines and create the similar length and shape and flow of the skirt that we see in the picture. I'm going to start by drawing some of these ruffles and curves, and just drawing them carefully following what the shape looks like. Just paying attention to what the ruffles are doing on the bottom. Erase a little bit of the leg so I have a clear picture of what's going on. It's really important when you're doing the skirt, is how your ruffle edge looks. If you start trying to be ruffles like this, this is a pleat. It's a very sharp knife edge sort of pleat and that's not what ruffles look like. Ruffles are really important to get right because they really establish the weight of the skirt. With this one I usually I'll start at the center, the center ruffle and then I'll move out to the right and then fill out from there. You just watch and see the different shapes that are being made. How wide the ruffles are? How thick? By ruffles, I mean, like the drape of the skirt. I'm just following the same line, and what that's doing is it's giving you the same weight style. Again, don't do pleats, don't do these really sharp edged straight up and down lines. That's not going to give you the same style of skirt as what we see here. Just pay attention to what is in the magazine tear and what you're drawing and try to make that match as similarly as possible. Really pay attention to what is happening at the bottom of the skirt. I am drawing this and I'm thinking I'm going to draw this line in a little bit more, that's really too far away. When it's flowing a little bit more like that, I think it looks like the skirt is a little bit lighter than what it actually is. I'm just going to take it in a little bit more so that it's draping further down. This is really all something that you learn as you practice, so it doesn't come easily right away. This is something that you just have to try over and over again and experiment with different techniques, experiment with testing things out. You're just going to get better and better and it's going to look more accurate as you continue to practice. Moving down to the boots, I'm just going to follow the shape on the outside edges. We're going to follow the way those look, just really paying attention to what we're actually seeing. I know that I'm making her boots a little bit thinner than what is happening on the actual magazine tear, but I just really don't want them to look too much like hooves. I want to make sure that they still look elegant. Everything's a little bit thinner than what we're seeing in the magazine tear. Then I'm just going to follow some of these shadow lines so that the boot looks slouchy. Paying attention to the way the lines look. Adding in different details, not overly drawing. Again, this is something that you just need a practice with figuring out how many lines to put in before it looks overworked or whether too few lines just doesn't make it look slouchy enough. I'll draw lines and I'll erase and I'll draw a little more. So it really is just constantly working through and refining it to make it look as accurate as possible. Accurate meaning depicting the same slouch and shape. Accurate doesn't mean it has to look exactly like the boot, ivory wrinkled doesn't need to be in the exact same place. It just needs to show that style boot and so that people look at the boot and go, oh, that's a slouchy boot. Add in some of that slouch lines on this side too. Again, you can see I'm just erasing and then refining a little bit. That's how you have the whole body penciled in. 6. Drawing In The Face: In this lesson, we're going to go over how to draw out a face. All right, I'm going to take my tracing paper and put it over my magazine pair and line it up and then I'm going to put a line across right over her eyes. Then I'm going to put a line at the bottom for nose and a line in the middle of her mouth. I'm going to start penciling in where the eyebrows are, and then I'm going to draw two hill like lines over where her eyes are on that line that I just drew. Then I'm going to draw in her hair point and then I'm going to draw all the way around framing the face with the hair. Just to follow along, trace it through in the bottom of the lip and then the top of the lip, and then you can see that I have the face started out here. I'm going to line it up with my drawing I can either put graphite on the back and then trace it out again, or what I can do is just line it up next to it and I can just use it as a guide. I'm going to put the line in for the eyes, roughly halfway down between the top and the bottom of the head. You can see that the lines pretty much in the center, can be a little bit higher, a little bit lower. Then I'm just going to follow along the shapes that I see with the hair. Again, I'm just looking at the trace and then I'm copying that over onto my illustration, drawing in her central part and then down with the bangs behind her ear, doing the left side. Again, just following the lines, going to erase a little bit of the headline in there so that you can see now the hair is looking pretty good and then I'm going to start drawing in those eye-lines. Again, they look like little hills or arches and I'm going to put those in. There is usually the same with faces and the eyes, the distance between the end of the eye and the other end of the eye, there is going to be one of those in-between the two eyes. Essentially, if you're looking the space for the nose to go down should be the width of one of the eyes. You can see this here, I'm putting in a little bit of the eyebrows, I'm darkening the upper lid line to make it a little bit more dramatic and then in the center of those eyes, I'm going to put a small round circle for her pupil. Then underneath that pupil I'm just put a small straight across line. I don't connect to it all the way because sometimes that can look overworked. I'll just put a small strip across line underneath both of the pupils to show her bottom lid. I'm going to put the line in for the nose and I can put two small dots where her nostrils are and I'm going to follow along and copy over her lips. Usually I'll do a line over and then I'll put a little bit darker in one of the corners, so she has a little bit of a smirk and then I'll just go back and play around with the face, adding a little bit more where I want it to be, giving her maybe a little bit more of a dramatic eye or maybe pumping up the lip a little bit. You can play around with facial features and decide what you like the best. You know it doesn't need to look exactly like the magazine, there you can have whatever liberties you want to have with what your model looks like. Rounding out her chin a little bit, making a little bit more, rubbing her chin a little bit and the side of her face just making it a little bit more streamlined. It's sketchy, just tightening those lines and then we'll look at her ear. I am going to draw the top, a bit of her ear and then destroying the darker shadows then throwing in her earring. Over the other side, you can't really see her ear. I'm just going to draw the curl down a little bit further and I'm going to erase where I had it drawn a little bit higher up. You can see that this is, I'm doing a good job of mimicking the same hairstyle that we're seeing on the magazine tear. A little bit of an arch there for the hair comes off apart, and I'm going to go back in and add a little bit of the eyebrow. You can see here that we have a full body all penciled in. 7. Adding In Ink: In this video, we'll talk about adding in ink. We're going to take our pencil illustration and we're going to set it next to our magazine scan and then we're going to take our micron 005. This is the main pen I use. You can also add an heavier weights like 01 or 08 anywhere along the range. But I usually like starting off with a 005 and that's what I do the majority of my illustration with. What we're going to do is we're going to start slowly adding in the ink. I'm going to start at the top of the head. I'm going to outline where I've outlined already in my pencil. The technique I use is really just using a light hand, not overly heavy because I like keeping with movement and if you outline everything in the same consistent weight, you're going to really look like a coloring book, which is a great style and I've used that before too. But to create more movement and interest, you can vary the weight of the pen that you're using. By varying the weight, I mean, just using it either lighter or softer against the page. I'm going to add in the eyebrows. What I like to do is to align along the bottom and then do hair like lines down the side. You can box them in and color them in. It's just a personal preference plan. Put her eyebrows in. Number's going to keep following down the shape of the face, creating the lines, putting in her jaw line, putting in her eyes, drawing in her pupils, putting in a little bit of extra blackness on the top just for a little bit of mascara. Let me go back and put the lines for the nose and then draw in those lines that I put on the mouth. You can see that I didn't draw all the way around the mouth, I put just a few hint lines that show where her lips are. If you draw all the way around, sometimes it can look a little bit much and a little bit, yet too blocked in and just attract too much attention to her lips. Then going down I'm drawing in the turtleneck, creating a wavy line so that it mimics the shape of the folds. I'm drawing a straight line down for her jacket shape. Putting in the folds on her turtleneck right now, the creases that I see. I'm just going to make sure that I'm drawing those correctly, following the line for her jacket lapels. Then creating a darker line curve where the fabric folds over itself, so to give it a little bit more weight. Usually, if there's a line where multiple fabric pieces meet, I will darken that line a little bit just to show that there's multiple pieces overlaying themselves. I go down that side of the other lapel just make sure that they're matching, I drew it in a little bit farther because I think the right lapel I had was a little bit too far out in and didn't match. The other one, so when you're going in with pen, this is really a great way to also just spot check and make sure that your measurements were right with your pencil. Because this obviously, there's no erasing the pen lines. I'm going to add in the shoulder pads down to the elbow and then curve around the elbow area, then do the under arm, following the under arm line and then I'm going to put in a bit of a curve crease where her elbow is. But you see on the jacket there and arm holes and then the crease underneath the arm and then draw in her other arm, go down to where the elbow is adding in the crease there. With creases, there's going to be fewer creases on a heavyweight fabric and more creases on a lighter weight fabric. So you can see the difference between her turtleneck and her jacket. Then I'm going to draw in the lines on the belt, just quickly I'm sketching them and I don't want to be too belabored. Because when you start doing that, your lines get heavier and they can start looking a little bit squiggly. I'm just trying to keep a loose hand, trying to just keep moving and keeping the drawing looking light. You can practice drawing quickly and then drawing a little bit slower and then just seeing the difference between how that looks and just picking for yourself what you like the most for your style. Fashion illustration is a lot about personal style and personal flair. These are just guidelines that you can use to like, jump off of and that you can use to create your own style and your own way of illustrating. Then we draw in pockets. Those look similar. Then drawing the rest of the jacket down and around. Then I'm just going to start putting down the skirt and trying to keep that one long continuous line, adding in the crease lines, up the bottom. Moving over to the other side, adding in those lines and then working on outlining the pencil lines of the flow of the skirt. I'll move down into the boots and just continue doing the exact same thing down here on the bottom. The outlines drawing in the curves. Just can see I'm moving pretty quickly through this trying to keep a light touch. Trying not to overwork the piece. I'm overworking, meaning going over the same place multiple times or I'm just hesitating and letting my pen squiggle a little bit. I'm just trying to keep a very broad loose stroke and this just comes with practice and confidence. This is just something that you keep working on over and over and you'll definitely become more adapt to pen as you continue to do it. That's how you outline the whole of the body in ink. 8. Three-Quarter Body Outline: In this video, I'm going to outline the three-quarter length body. We're going to start this exactly like we did with the full body. I'm just going to go through and I'm going to lay in her head, her neckline, and the most important points of her shoulders, her bust, her waist, and her hips, and put it into bikini line, we are going to do the lines for the arms and the legs, and then have that center line that you can see that helps give you the curve of the body, and then once I put all those lines in and I get out in her hair outline, in her face outline in. I'm going to do just like I did with the full body and I'm going to put it next to the page, and I'm going to start sketching it in. Looking at the image and following along for the face and the style of the hair. We'll put in her earring line a little more detailed, now. What you're doing with your outlines, like the first one, we're just slowly continuing to refine the shape. Will put in the ear details give her, her dimples. I don't know but with this drawing its different than the first drawing because you see significantly more of her skin. When you're drawing clothing on top of the arms, you don't need to get the arm details as specific as when you're drawing an outfit where you see her skin. The first one we didn't really go into the shape of the arms as much because we were just putting the sleeves over it. This one, you just want to be a little bit more sure of where the arms are, you want to be a little bit more sure of the shape of the arms. You can see here I'm altering my outline a little bit because I wanted to bring her arm in a little more to match the sketch, so I'm moving it over. Again I'm drawing in a light enough hand that it's easy to erase. I'm not pressing into the paper and ruining the tooth of the paper so I can easily erase the lines that I don't want and I can go back and change my mind. I'm paying attention to the shape of the arms going down into the hand. Usually with hands, I don't like drawing them splayed out, like this here on the illustration, excuse me, on the magazine tear. I'm making it more of her fingers together with her thumb out, so this is a little bit too much like a clot let me redo that. Putting her thumb in, just doing it more like a relaxed hand. The problem with hands is that when the fingers are all splayed out, they look a little bit more like sausages. Doesn't matter how thin the hands are their just very easily can look like sausages, which was not attractive. I just like making them look as delicate as possible and usually that is easier when you're grouping the fingers together. I'm going to lay in the bracelets. Then I'm going to erase some of the extra lines that are happening and then I'm going to start penciling in her outfit. Looking at the key points, so the neckline of her top, the width of her strap, and go over and do the other strap side. Then I'm going to erase some of the extra lines that are unnecessary as I've already have the majority of this drawn in up here and go back down and I'm going to look at the seem lines in her top and I'm going to draw those in and you can see that her bust line goes a little bit fuller and goes further down. I'm going to pencil that in and then erase the lines that are no longer necessary. Get rid of some of my extra racer gunk, and then just pay more attention to how her arms look. Adding in some of the smaller details and the creases and curves, and then putting in her side hand, the dip between the tricep and the bicep. You can rethink some of the extra lines, going back and looking at the other arm, seeing if I like how that looks then I'm going to put in her top and the waistline of her skirt and remember when you're doing bodies that everything is a cylinder. Her body's a cylinder, her arms and legs are a cylinder, so what that means is that you are straight lines are still going to look slightly curved. I'm going to go down and put in the shape of the gathers in the skirt and then remember when you're doing lines that the lines on the right side of her hand need to connect with her lines on the left side of her hand going in the same direction. Similar quantity. You always want to make sure you're connecting lines so that it looks like they're flowing from one side to the other. Let me go through and start erasing some of this extra leg. Let's put the bottom of the skirt, erasing and just getting it to look like I want it to look like, there's no shame in using your eraser and redrawing things. It's like sculpting where you keep honing in on the right shape and drawing until you get it where you think you like it, and then one of the things is to look at the bottom. I don't want this to go straight across. What I want to do is create points that aren't all even because I don't want it to look like it's just chopped off at the bottom of that leg, so I'm creating a nice V-shape. You don't want it straight across, you want it to be more of a dynamic angled shape. I like creating a V, I think that's helpful and I think that has a nice drift off and then I'm going to look at the creases in the skirt and add those in. Drawing those out and around, following how I see them in the magazine tear, doing some erasing and go back in add a little bit to her cleavage, not too much, light amount. Going back in and just sharpening a few of the details. Double-checking, making sure I like how things are looking. Forgot about her hands and then go back and add some fingers in so that she has a hand on that one side, and there you have her outlined in pencil. 9. Three-Quarter Inking The Body: In this video, I'm going to show you how to ink the three-quarter body. We're going to start at the top like we did with our first one. We're just going to go around and follow the hairline start off. Again, I'm drawing pretty lightly, just going in and adding in the different shapes I see. I'm following my pencil lines, going around the sides of the face, over on her ear. Again, I think it's just easier to start at the top and work my way down. Just very simple that way. Let's keep looking at the drawing. I'm adding in her earring, right now just creating a circular shape with little dots. Come back to the left side to deal with her hair. With this hair, I'm putting in [inaudible] bigger curl areas, blocking those out. Working on the earring a little bit, putting in the tassels. Come back to the other side, putting in those tassels. Try not to overwork the earrings and tassels. Trying to keep them just really fluid and fun, not looking to belabored by adding in too many pen lines, which can easily happen with detailed earrings like these. Go back to the face and her eyebrows, and her eyes. Sorry, it's a little difficult to see as I draw in her face. But again, very similar to how we drew our first drawing face I drew in her nose and I drew in her mouth. So this one, I draw a little bit more of the mouth and with the smile, usually I do the inside of the lips and not the outside of the lips with a big smile. I'll draw small indicator lines on the outside, but usually I draw around the corners and on the inside when it's a smile. Then just go ahead and start adding the lines to the clothing. Make sure I have the shapes that represent the different pieces of clothing. Following along with the arm, drawing in the neck line. Adding in the seam on her bust. Again with the top you can see this light roundness around her stomach, I'm just indicating the cylinder shape. Then just working my way down the drawing. I'm putting in the top of the skirt and again, the slight exaggeration that I did with this is I just gave her a little bit more of a stomach exposure compared to the image on the left. I'm just to enhance the fact that it's a two-piece outfit and also her gathering on her skirt is a little bit more dramatic. I also pumped up the hips a little bit to show off those gathers. Usually I try to have a light touch around the hands, so again they don't look too overworked and claw like, and again, hands just take a lot of practice. Everything just takes time to work on what you think works best for your fashion illustrations. There's a lot of wiggle room for how you like to represent what you're seeing. I'm just trying to show you some of the best practices that I've learned or what I like to do, but you can totally be more free with your style. This is just a good way to start understanding the basic body shape and how close lay over the body, and how to translate what you're seeing from the magazine over to your paper, but again, this is all totally up to you. It's an art, do whatever you want and take some of my suggestions and translate them into your own personal flair and style. I think that's one of the most important pieces, it's just learning techniques and then figuring out what pieces of those techniques you really enjoy, and what you want to shake up and do a little bit definitely. Go back and draw in the bracelet, botched little bit of the bracelet shapes. I'm trying to make it look vaguely normal and probably should take in a little more time drawing in those shapes, but who cares now? We're going to move forward and not everything is perfect. I'm just going to get those to be where I like them and just accept that they aren't exactly how I should've drawn them. That's also a part of drawing. It's just when you don't like something, just work with it and make it work for what you're doing. I would have drawn the bracelets probably a little bit differently. It's not something I'm going to sweat over, and then you can go through with your eraser and erase some of the pencil lines. You want to get rid of those. It's helpful to not have to make pencil lines when you start to color it in, the markers will definitely grab some of that graphite and make things a little muddy, and that's how you ink this three quarters length girl. 10. Fashion Face Outline: In this class we're going to go over how to draw a fashion face, we're going to take our tracing paper and place it right over our face and then we're going to start following the lines, down and around. First I put the line across her eyes and then I put the line down around the side of the face. Essentially what I'm doing is just tracing the shapes that I'm seeing, so I put the lines in for her trench-coat, the lines around for her hair and with the hair lines, since she has this beautiful natural hairstyle. I'm not doing a hard line, I'm doing a slight squiggle around the edge and I'm going to go back and I'm going to trace around the side of her face and see what's happening there, following along with her hairstyle, putting in the bottom part of the nose and putting in the nostrils, following along for the beginning of the lips and you'll notice that this is very similar to what we did with the full body, we're just doing it on a larger scale for just the head. I'm following in putting in her earrings, it's going to need a little bit more time putting in how her trench-coat looks and drawing the other end can't really see that if it's off the page which is like looking, seeing what's there, what does the epaulets look like? Then I'm going to go back in and I'm going to pencil in where her eyebrows are and then do a little bit more refining around the nose and the eyes, tears cast slowly honing in on the shapes we'll see, once we take it off, you can see that we have a really good representation of what her face looks like. What I'm going to do is, I'm going to turn this sideways, this is another reason why it's nice to have 11 by 17 so I want more space around my head than having it landscape would look like so I'm going to turn it to portrait. I'm going to put that line down the center of her face, I'm going to put that over and just copy it straight over onto my page. It's nice this is just like a super-simple helpful way for you to accurately portray heads, just like strips the head down to the bare essentials so that you aren't getting distracted by light and shadow and you aren't getting distracted by colors. It's just a very simple outline that you're copying from. Paying a little bit more attention to earring, sometimes I get distracted on some of the smaller details. Moving on, looking at where her head line is, where are her eyebrows? Putting the arch line in for the eyes. Following along putting in the hairline, drawing her hair around, again not doing a full solid line but just sketching it in, putting in her jacket collar. This is also a little off the page and then putting in the epaulet. I'm going back up to the face. Sometimes it's nice to do a piece and then move to a different section and then go back to where you were, sometimes you get just like a fresh set of eyeballs on it to be able to see what your drawing, if there's anything that you drew that wasn't quite right. Go back and line in more of her hair. Realizing I was cutting it out a little bit too short outside out and then I think I want it to be a little bit rounder. Mine's looking a little flat so I'm rounding that out, let's take my eraser and erase the piece that I don't really think looks right. We've got hair looks better now and then I'm going to go back and just follow the lines for her eyes. Again, I'm lightly putting all these lines in, all of these are very easy to erase, sketching it in just following along with what I see on this trace. Putting in her nostrils now down the center line, going along with the shape of the nose, a little line for the bottom lip and then for her chin and then drawing in the shadow lines on the earrings. Now, that I have this pencil then I can go back to my original and I can start looking and paying a little bit more attention to the specific details of what the shape of the eye looks like, whether I have that as its portrayed in the magazine tear. I can look at her lid and see where actually it's her lid, I think I drew it too high in my little magazine trace, just slowly refining a little bit more what that eye looks like, erasing what I don't like. To eyebrow I'm penciling in the eyebrows. Taking that on. Both sides I'm going to draw the shadow line down from around for her nose, just connecting those lines. Drawing her nostrils, paying attention to the shapes I'm seeing near her lips and drawing the shape of her lips. Double-checking the shape of her neck and the shape of her jaw line. I'm going to draw it a little bit and just go back and spot check different pieces. Again, jump around a little bit. This helps me keep an eye on but I'm getting a good look at the whole of the illustration. Sometimes if you spend too long just dealing on one side or the top half and not the bottom half, then we get the top half perfect and then you look down and you realize that it's all off compared to the bottom half. I recommend jumping around a little bit, not going crazy, but just being able to keep spot checking, making sure all of the pieces are working together so that you don't spend too much time working on one and not getting it right in relation to where every other pieces, the faces. I'm going to add in her pupils and where I see dark shadows in the magazine tear, like her eye shape and that is the end of her outline. 11. Fashion Face Inking: In this class, we'll be going over how to ink the face. We're just going to start with the eyes, I'm going to go around and follow the shape of her eyelids. After you've put in the pencil, like with our other two illustrations, it really becomes significantly easier just to start mapping in with the ink because you already have a really great base foundation. There's less guesswork when going in with the permanent ink. We're going to follow around, and looking at her at lower eyelid, putting in some of the lines down there, following along the lines that I'm seeing on the inside of her eye, adding a little bit of that dark upper lash line, just filling that in a little bit, and adding a few lines here and there out for eyelashes. Go up to the eyebrow. I'm working in the direction that the hair flows, so you're not going to go from right to left on that one right eyebrow. You're going to want to follow the direction that the hair is flowing. Then going down to her other eye, filling that in. It's more of the details, just really looking at what's happening on the magazine tear and then going and filling that in with the pen on the sketch. I fall per line down to her nose. Usually, I don't draw the line connected all the way down to a nose as you can see, I've left it a little bit lighter. It isn't too harsh of a line. Again, for this style, I'm not really going for the cartoon style or comic book style. I want to make sure that I am varying my line weights so that it just has a little bit of a lighter touch. A little bit of the eyelash, going back down around, following the line of her side of her face, down around the chin, neck line, going to go back up and do a little bit on her lips. You can see I did a thicker line on the center of her lips, where her lips meet, and then on the top lip and the bottom lip doing not a consistent straight across line. But, again, varying the weight, going back over towards darker under her ear, and putting in her earring circle. A little detail of the top of the glass, putting in the shape of the light points in the glass, and turning it around, and add in the outline of her hair. Let's dive on the right side so that they meet up together, brought the hair line up a little bit on this drawing. I probably should have done it in between those two lines, in between the pencil line and the ink line, but that's okay. You can always drop it a little bit further, especially with this darker hair. I can go back in when I color it in and drop it a little bit lower. That's not too big of a deal. Again, that's the beauty of fashion illustration, is that it doesn't need to be exact. You're not looking for an exact replica. This is pretty close to exact. But it definitely can use your own flair. Like I've said in the other videos, you can make things a little bit more exaggerated if you want or do a different even facial look. But this is kind of a good way to start out, to figure out how to draw realistic faces. There we have our inked in face. 12. BONUS: Coloring In Your Drawing: As a bonus, I'm going to go through and show you how I would start coloring in one of these sketches. This class was mainly about how to transfer what you're seeing to your paper. But I always like leaving with a little bit of a finished product. We're going to use this middle sketch, that's three-quarters length body. What I'm doing here is I'm going through with my base color of E00, and then I'm going to slowly add in some of the shading with E11 and E13. I usually color over the whole body with my base color and then slowly add in where I'm seeing the darker and the shadows with the mid-tone and then leave the darkest tone for the darkest shadows of the skin tone. Three tones are usually pretty good for skin color, I think it gives a nice contrast if you have three separate colors. As you can see, adding the darker skin tone just gives it a little bit more dimension and more shape, just great. Now I'm going to go through and do with the hair. With the hair I picked two colors and then I put in a third. Three colors is really a good amount for a hairstyle, so I'm using E47 and 49. I'm just going through with my mid-tone brown right now putting that in and then I'm going to take my darker brown and add that into the darkest shadowed areas. Then I chose E33 sand. I'm just going to go over the rest because you can see that her hair is a lot lighter on those highlighted pieces that I want to show enough of the contrast. Then I went back in with my mid-tone color and did her eyebrows. I forgot about her ear, so I'm going to go back in and draw her ear and add in a little bit of this suntan for her shadows on her face again. I'm going to put those away and we're going to start going through and we're going to just map in the pattern of this outfit. I'm using my mechanical pencil and I'm literally just following along with the lines. You can either make up your own pattern or you can follow along with the pattern that you're seeing there. What I'm just trying to do is get a similar look with these bigger white-black flowers, and then I'm making sure I have this chartreuse color mapped in. I'm just going through and drawing the different shapes, so it will end up really just being color in the lines situation. I'm using this E4 all across the tan. A lot times with good markers and even not so good markers, you can do one layer of the tan and then you can go back in and color over certain areas and that will give you enough of a contrast. If you can't afford a bunch of different markers, just vary the pressure you're using on the one marker that you do have, so like drawing lightly, and then go back and use that as the way to make more of a contrast shading on the darker spots. I took T7, which I think I could have actually gotten a little bit darker for the dark points. I'm just going back with my micron and sharpening up some of those black lines and shapes, then outlining that chartreuse area. Here's my paper made that I just took. You can even go back in after you did the whole drawing, if you didn't have like a black marker or a darker mark you really like, you can use sometimes basic office supplies. If I were doing this and maybe I didn't have this lighter yellow color is yellow and green, maybe I would use a highlighter, because this is very similar to a highlighter color. I'm just using YG00, and then this is YG21, which gives it a little bit more of a contrast. I'm going back in with this green for some of the green points, that's 5G25 and go back. You can go back in with that same E42 and just darkening things up. Then I'm just going to use her hair tone down here where it's like really dark in the crease for her skirt. Then I'm going back, increase the dark tone for the skin just to make it pop a little bit more, I'm just going to put a pink circle here for the earring, going to color and using the same yellow for the tassels another little different in the magazine, but I don't really care. I'm just going to use some of the similar colors that I have for her bracelets and color those in, and also put it in that pink that was on the earring for her lips, and then you have a colored in illustration. 13. You Made It: Thank you so much for taking this class. I really hope it's helped you learn how to take an image from a magazine, and translate that onto your paper. I hope that this is giving you more tools, so that in your journey for fashion illustration, you can be more confident as you approach a wide range of subjects. If you really enjoyed it, please leave me a comment, please give me a thumbs up and don't forget to post your project, because I'll leave you a comment. Thanks.