Fashion Illustration: How To Draw The Body | Morgan Swank | Skillshare

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Fashion Illustration: How To Draw The Body

teacher avatar Morgan Swank, Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Supply List


    • 3.

      Picking Magazine Images


    • 4.

      Tracing the Body


    • 5.

      Copying The Figure Onto Marker Paper


    • 6.

      Drawing Clothes


    • 7.

      Inking Your Illustration


    • 8.

      Coloring The Body


    • 9.

      Coloring Your Outfit


    • 10.

      BONUS Material


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About This Class

In this class we will be focusing on the basic building block of fashion illustration - the body (or croquis). The more you grown in your understanding of the human form the more lifelike your illustrations look!

Many beginning illustrators skip straight to drawing clothes, without fully understanding that the base of your illustration (the body) is a main factor in the success of the final result.

This class is for everyone - from absolute beginners, to more advanced students wanting to have a refresh on the basics.

Due to the importance of this step, we will add a simple outfit on to our body at the end, but will not be focusing on clothing in this first step - this is purely about form.

By the end of this class you will:

- Have a better understanding of how the human body is connected

- Learn how to start drawing accurate figures 

- Know the process by which you can draw fashion figures anytime and anywhere!

Meet Your Teacher

Teacher Profile Image

Morgan Swank



I run Morgan Swank Studio which is an art and design studio based in Richmond, Virginia that specializes in custom illustrations, wholesale greeting cards, and art education.

I first fell in love with drawing as a little girl and have never lost my passion to create. I began developing my skills as a portrait artist and my work has continued to evolve as I explore a variety of subjects in pencil and marker.

Want to keep up with the latest illustrations?  Check out my Instagram, and let's be Insta friends! 


You can follow my artistic endeavors on my website! I even have a page of free resources!


See full profile

Level: Beginner

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1. Introduction: Hi. My name is Morgan Swink, and I'm an illustrator living in Richmond, Virginia. In this class, we're going to go over the basics of the human form the body so that you have a better understanding of how to draw it and create your own fashion illustrations. Most people skip learning about how to draw the body well, because they want to get to the more exciting part of drawing clothing. However, it's really important to get the frame right in order to put the clothing on it. If the body doesn't look good, your clothing, it's not going to look good in this class. I will teach you how to look at magazine scans and start learning to draw from images of fashion bodies. I'll show you everything from how to trace it, to be able to free hand it on your own page. Well, think over the important body points to draw on your paper. I'll also show you the different types of kopek marker. I use the different colors I used to achieve different skin and hair tones. We also then draw a simple outfit on our girl at the end. This class is all about learning the fundamentals of the human body. I hope you join me in this class 2. Supply List: this lesson. I'm going to be going over the supplies list you need for this class. The first thing you need is tracing paper. Um, I use just Ah, very simple Strathmore tracing paper. You can get whatever, um, kind you want. You just need to make sure it's pretty see through. And that's pretty much with tracing paper. Next thing is marker paper. Now there are several different types you can get. The first, um, is the bleed proof marker pad by co pick. I prefer this Borden and Riley to 34 Paris paper for pence. It's really nice. It's flexible, it smooth, super white. And it's just a nice all around pen paper. Ah, one that I would recommend for today is the Strathmore Bristol board. It's smooth. Um, there's 24 sheets of it in this 11 by 17 pad, and it's pretty flexible paper, a little bit less expensive for today's practice. The next thing you need is a pencil. I like to use mechanical pencils, but you can even use a regular drawing pencil. It doesn't really matter. You can also have ah kneaded eraser, which is super helpful Micron pens. I like the 005 And also the window, too. You can also get a ruler. It doesn't matter what type of ruler this is. Just a two by 18 clear, flexible ruler that I just used for all my heart. You're gonna be needing magazine tears from a variety of magazines. We'll go over in the next lesson, how to choose those. We're gonna need some co pick markers. So the first markers we're gonna look at are the light skin tone. So these skin tone colors are easier. 0 11 and e 13. The next set. We're going over our dark skin tones. They should be, um, e 25 e 71 in e 77. Here are a few extra colors If you're interested in more skin tones. E 2131 50 51 74. These are all great extra set just to make your skin tone with more dynamic. Um, so for hair color for blondes, I would do E 40 in East 70 for a red hair. I would do, um, E 18 in 19 and a 33 for dark hair. I would dio um, be 99 e 47 if you 90 nines a little purple lee, but I really can't like that With the Browns. Extra hair colors would be a 41 e 43 the 97 E 39 lipsticks. Um, you 93 RV 10 I'm easier of four are 29 are 39 are great colors for just different varieties of Lipton's. I do want to just stop for a quick second. And what you will know that you don't have to have all of these supplies to dio fashion illustration. These are just a supplies I'm using for this class and to show what I use normally. But you really can just start off with just pencils and basic paper like If you cannot afford these supplies or you don't have the supplies and can't get them, it's OK. You'll be able to use whatever you have on hand to get to where you need to be. So when I started, it was just a basic pencil basic paper tracing paper and magazines. And you can do that, too, in this class. So don't be afraid to just use whatever you have handy. Whether it's Crayola markers, Crayola crayons, random colored pencils. Um, use your imagination and make it work for you. 3. Picking Magazine Images: in this video, I'm gonna be going over how to properly choose magazine tears from magazines and catalogs. So these are some of the terrorist I took out of the magazines I showed you in the supply list. So this first, um, this first magazine tear I really like because it gives you a good view of the most important points that you need to know when doing fashion illustration. So the first point would be the shoulders, the bust than the waste and then the hips. Eso having these as landmarks really helps you when you're drawing fashion illustrations. So this one looks really great. You can see it straight on. Her clothes are pretty tight against the body. And she really just has, um and I suppose there's a nice curve going on. She has a little bit of movement with her knee. Um, and you can see kind of all of the main body points. So this one I really like the 2nd 1 is also a really great wanted on isil curve going on here again. You can see the points. There's a little bit of obfuscation, but not too much. Uh, one thing it might be difficult is you need to draw on a little bit extra on her shoe. Um, but that's not too bad. That would be easy to add in this one. I also like again you see it the most important points. The shoulders, the bust, the waste, the hips don't even see some of her leg through the sheer. This one can see a little bit underneath there, but it's not too bad. Um, see, I also like this one a lot. This is a great side pose. Sides could be pretty difficult. Um, but what's great is this really hugs her body nicely, so you can really see the shape which is helpful. So I would definitely like this one. The you have to draw in a little bit of this other shoe back here. But really, it's not too bad this one, I would consider to be a little bit more difficult. Um, you have some of the main points, the shoulders, the bust, the waste. But there's a lot going on right here that you can't really tell what's happening, so that makes it really difficult. You're just starting out to really know what points should be put where, um, especially going down into this back leg where there's quite a bit of foreshortening happening. Um, so I would probably not do this one. If you are new to fashion illustration. This one's also hard because there's quite a bit of dark space that you blacked out space that you can't really see what's going on. The body actually looks pretty flat in this image. It would be really hard just starting off the bat to make this look nice and round, Um, and to get all the proportions and that you need to. So I would stay away from that. I love this photo of Oprah again. It's a little bit difficulty. You have a good shoulder line bus line, but her waist just really foreshortened as our eso, her whole trunk and torso. It could be a little bit hard to try to get that toe look correct with the right angles. If you're new to fashion illustration, so this one of Oprah, I would say it's a little bit harder and would necessarily pick it right off the bat. Seated posing is also a little difficult, has a great angle, a great line. I really do like this for a fashion illustration, but starting off trying to create that roundness that you need, um, of the body, that's gonna be a little bit hard for someone right off the bat side. Probably stay away from just those different angles. I would recommend starting off with something like the 1st 2 that I showed. And we're going to draw the 1st 1 in the next video and I'll show you how to do that. Um, with the main points. And then I also I'm gonna have an extra bonus in the bonus section of this one where I also do a quick sketch of that. Um, if you still don't understand the whole major points, I recommend going on to the next video where I go in depth, um, through what those points are and how to get them to look it on the paper on and then come back to this video and just really kind of swap back and forth to really get a better understanding of the main anchor points in points of the body and how that affects how you choose your magazine terror to use 4. Tracing the Body: in this video, I am going to be going over how to trace the body and find all of the most important points . So put a piece of tracing paper over your magazine Tear, and we're going to get started with the main points in the body. The first point is the shoulder point. Second point is the bust. The third point is the waste, and the fourth point is the hip. These four are the most important points that you need to know in drawing the body. So first we started at the top with the head, so just trace in her head nice over. And then we're gonna put the shoulder point. So from shoulder point to shoulder point, just draw a straight line across, read it. Same with the bust. So if you look at the scan, you can see where her bust is. Um, across the apex, you put another line, then you put the waistline in. It's where her genes are, and then the hip. If you look, there is kind of this curve here. There's your crotch. We're gonna find kind of like the lightest point, come down by her crotch and put a line, all right? And then sometimes its helpful. If you want to put a straight line down with your ruler down the body, this can kind of help. You see, um, the angles and kind of where things are leaning so she doesn't get tilted. I wouldn't put too straight lines down for her neck, and they were going to start doing a connect the dots. So shoulders go down into the bust. I'm a pool circle where the arm hole is, um, bust to waist. Another trap is oId and then kind of the curve from the waist to hip goes out been Just put some triangular can curve pipelines down from the neck to the shoulder. And we're going to look at, um, what I call the bikini line up to the waistline and then across on the thighs. Well, I'm just drawing a little bit of her. I'm just put it back on. Then what we're gonna do is we're gonna put be straight, line down to her, um, elbow and then down to her hand, and they were kind of just Tracy outside of her hand, been on her foreshortened arm. Ah, straight line down. I'm circle at the crease, straight line down and then tracing the outside of her hand on the side. So then you're going to the same thing with the knees. So we're going to draw a straight line down the center. Ah, circle where the knee cap is circle on the ankles, and then we're gonna trace around the shoe. These are a little bit bulky issues. Um, but we're gonna trace around them anyway. All right, so we take her off, you can see that this is definitely the start of a body. That's really exciting. We're gonna put it back on, and we're going to look now at her limbs. So one of the most important things to know is that everything in the body is curved and rounded. It's not a square or a rectangle. You're not gonna have these really those really sharp points. So everything is gonna be flowing nicely once shape into another with rounded curves? Um, they aren't sticks. So we're gonna do that going around the, um Paul, we have where? Her creases of her arm. We're gonna start above that and curve around. I'm down to the arm. Excuse me. Down to the rest. Uh, so you can see that they're overlapping each other and not just rectangle into rectangle. And then that should flow right into the hand, trace around the hand a little bit. And we're going to the same thing on the other arm. Do the same thing with the legs. I'm curve around the circle we have. I'm on the kneecap on both sides, down and around a nice curving fashion. And then we're gonna do the same thing. We're gonna start higher up in the circle and curve around for the calf. Um, same goes on this side down and then on her other leg, like that's bent a straight line down to her on the front and then on the back, we're gonna curve the calf down into her foot and there we have a body. So if you want to put in the face, the line over the eyes line over the no sign over the mouth Yuk undrawn in or trace in the eyes But the eyebrows in but the dots for the nose are give her some lips and then for hair , just lightly trace around, Uh, what's on the page. So super easy. And there you have a full fashion girl 5. Copying The Figure Onto Marker Paper: in this video, I'm gonna show you how to trace the girl onto the paper. So put a straight line down. You can use a regular pencil or mechanical pencil. I like the mechanical, but it doesn't really matter. So we have the straight line down. We have our girl sitting next to us. That we're gonna do is we're going to start at the top. So you can either take a ruler and measure measure the head and put that over there, or you can just eyeball it. I am going to eyeball it so I can start the top on when, um, tracing the head that I'm gonna put in the body point. So we're gonna do the shoulder, the bust, the waste and the hip you think is your most important points. You want to put them in right at the start with this, like has a nice It's like curve. Um, we're gonna put that slight curve in, um, coming down the center of the body. They were going to put in the neckline and put in the triangular curve to the shoulders. And then again, it's just tracing it out. So another triangular curve, uh, huh? Kind of creating a connect the dot experience again, throwing up with line down. We're gonna put a nice little circle we're going to create. Our little trap is a wade's on down to the waist flare out to the hip, but in the bathing suit or bikini line, and then I'm making her a little bit, um, thinner. Then the one we traced. You can make her whiter or thinner, depending on whatever you feel like doing, um, again, putting in the bikini line on this other side. And then I was gonna start looking at the distance between the knee and the hip and kind of measured out. So we're kind of putting measurements against themselves. We're gonna measure, um, from the knee with hip is the hip to the shoulder, and we're gonna put a line there. Nice. Much my paper fun. All right. So that distance, um, is equal to that distance. Just to make sure you're getting the proportions right, you can always lengthen it if you want. Um, fashion illustrations can always be lengthened, but right now, we're just gonna go going for, like, 1 to 1 ratio here, right? We're going to the same thing. We're going to go down and curve around that point. Um, and then we're gonna do the other leg. You can kind of see the spacing and distance apart on the center line on our traced paper and try to kind of follow that same sort of line on our sketch. You can see that her left leg just on our right side is closer to the center line than the other leg. But I'm looking at the angle. Um, you can draw the straight lines. And if you feel like if that helps you out as to where to put, um, the knee and the ankle to put that line in, do the measurement thing again realize it's pretty much equal. Um, So we're gonna pro line where the bottom is and follow that down straight, line down and And really look at how the one we traced looks like and then copying that shape exactly to the paper in the same thing on her other leg, keeping it really close to that center line like we see on the trace. And then just following the same shape down to the ankle and we're gonna block in her foot again following the same lines. Um made it slightly thinner, but just looking at the shape of what the foot looked like and is tracing Matt shape in as well. Now we're gonna go up, but on the, um, bus line. And here's where her collarbone being are gonna dio her arms. Um, usually the crease elbow is right around the waist line, which we see. It's true of our sketch. Now, true of what we're doing on the paper. Then creating that same shape that we drew on the trace. I went to her paper with her. Their pencils, We're gonna put the hand in less is usually better with a hand. It's OK if when you're starting out, you just gonna have this like a little claw shape. Um, you know, fingers, concave. Take time to learn how to draw. You're here to the foreshortened arm. We're going to just follow the shape that we drew on the other piece of paper traced out and again is copying what that hand looks like on our trace and less is always more all right. I will go back up to the head. Um, are you really like making the bottom a little bit thinner and the top a little bit whiter kind, like an upside down EG. I think that's always a little bit more attractive for, ah, fashion illustrations to have the top of the have a little bit lighter in the bottom. Right now, we're gonna put the line across. Same like spacing. We see the eyes are a little bit above halfway to put that line there and can trace in the little trace copy, Draw the lines for the eyes, the lion halfway down, well, halfway down for the nose and then a little further down for the lips. Make them with wide or a small as you want. Um, but then the eyebrows, flair, and then the ears are always nice to Addie, and the other one doesn't have it. Years. We're usually between the I and the eyebrow, and then they go down to the bottom of the nose, and they were just gonna follow the shape of the hair that we traced originally just lately drawing it in. Um, and there you have your girl. It seems like way too much work. There's another way to do this. Where you can flip your tracing paper around and then just essentially rub it off with a pencil. This is where I would suggest a regular pencil and not mechanical. Um, and just have the trace our have it transferred the graphite over, and then you can go back with your pencil and, um, dark in the lines. Um, but in the main shapes circling the legs, caps a feat the arms, Um, and put in all the extra little details. So that's another way that you could go about getting ah, human on the paper. So either way works. I would suggest moving from rubbing off if that's easiest for you, but I would really start working on how to free hand it by looking at the sketchy traced and then creating one next to it. 6. Drawing Clothes : in this video, we're going to go over how to draw close on the body. You could have a copy of the outfit that we have on the girl or you can create your own for this lesson. I am going to create my own outfit will just be a simple strapless dress. It's important to remember that the body is curved and a cylinder, so you're not going to be drawing straight lines across. You want to make sure that your lines that you use our round it's there curving around the body. So we're gonna start underneath of the arm hole and curb up and around. So it's kind of like drawing on a paper towel tube, and then we'll give her just a simple skirt that's gonna flare out a little bit. We're not going to again draw a straight line across, because that's not how close Look that end up looking really flat, and it doesn't, um, really show good perspective. So what you're gonna do is you're gonna kind of dress slightly curved line to create a little bit of motion. Um, and then we're going to just have it come down the side and just be a nice, slight, um, undulating line. And then we're gonna erase, um, passport. Here I race a little bit and then drawn some of the lines again and been a race a little bit more. Then we draw some of the lines just going through slowly and erasing extra lines that are necessary. I'll just double checking where things are placed doing a little bit more racing. Yes, this process. I use both e smaller tip of my mechanical pencil eraser. And also my needed a racer, depending on where or how big of a racing peace. I need to dio um, but just going back in erasing extra lines, kind of creating different japes. I didn't kind of dropping a little bit of her hairline down a bit, um, going back into the eyes, putting, circling in little eyeballs, I'm drawing a little bit more of the eyebrows, just adding some different details in to the sketch, racing down by the leg, redrawing in the line again on the feet. Um, just going Teoh. I kind of leaned them out a little bit, cause the drawing we drop of had pretty large shoes. We had raw, straight line down on, and this is where it could be helpful to going. Grab some more magazine scans and again, if you're having problem with any part of the body, go look at your back of your magazine scans so you can kind of see how this foot looks, even though it's going from Pamela Bent leg, the pretty straight line down from her ankle to her foot. I'm because yet in this, uh, magazine cut out as well. Um, and even with Oprah here, like her foot straight on, it really goes straight down on that inner side, and it kind of flares out a little bit on the opposite side. But it's pretty pretty straight on the inside, So on the inside edge, it's straight, and on the outside it flares out a little bit. We're just going to shore that up as well. And then I'm just going to kind of follow the line with, like, Oprah's heels. We're kind of gonna follow that same sort of line on this fight. I'm gonna make it for a little bit of a pointed toe there. You don't really want to get super blunt toes unless you're I'm really Ah, well versed and drawing feet because they can just end up looking like weird hooves. So then the other shoe, I'm just kind of like checking out, um, kind of the shape of how these feet are. So this one, you can kind of see that. Nice curve, Oprah. You can kind of see the curve and a little bit of the edge. So it's gonna follow those lines. I'm gonna give her also a little point on this foot. Probably not gonna give her. He'll probably gonna keep the shoe. Just, ah, pointy flat. Um, and then the whole process, You just continue to, like, go back and forth to the different places. Um, make sure they look even that they match to take my eraser. You were to some of the extra lines. So it's just constantly refining and tuning things to get them to look exactly how you want . So as you can tell, I go back and forth quite a bit to get the look that I'm interested in on. This can happen with you two. You can erase and redraw and race and redraw. And until you really get the shape or the look that you're going for. You can draw a little bit more of the details in the hands. You're looking at her hands for a few more. Ah, a few more details company and lines a little bit for her other fingers. Again. You could leave them. However you saw them, he could leave them just as they were with a little bit Claude like. Or you could add in some more detail, going back to the face, adding a little bit up an eyelash going back and added a few details. So again, putting in the dots of the nose, just making sure some lines are connected. But I like the shapes of things, Um, and you can dio kind of whatever you want, so you can work on your own style of face. 7. Inking Your Illustration: in this video, we are going to go over how to thank your illustration. So take your micron 005 We're going to trace and on top of the pencil lines with our micron pen. So I'm just going around following the lines using a very stroke. Wait to give it different dimensions a little bit heavier at the roots of her hair and moving down, leaving some lighter spaces. Some darker spaces trace around the ears, tracing around the eyes, just adding in different details. So other line around the top of the eyelid are on the bottom for a little bit of the eyeball in. And then I like to give her some pretty long black lashes. That gives a little more drama to the look, so I'm just taking my time. Um, this is not something that you need to rush. Begin to slowly start adding in and just having a good time putting in your pen lines so usually dio a darker line where her lips meet. I'm in a little bit of a darker line around the corners, drawing around the shape of the face. It will be good definition between her chin and her neck and then I'll just start going down her body and drawing in the different points. So again you can see that it's a little bit heavier, the corner of shoulder decrease of her elbow at her wrist. I'm just taking my time, drawing in the different lines. It's important to note that these movements aren't super choppy, and they aren't just like dragging the line down. They're kind of creating. You're creating different motion and texture. So unlike this sig zag, what we're wanting to do is can create more dynamism, so to practice, by putting your pen lightly on the page and creating different weight of the stroke. So holding off a little bit, holding the pen lighter against the paper and impressing down a little bit. So it's little bit darker against the paper. So I'll go darker, kind of at the different joints and different points like her shoulders, elbows and wrists, and kind of pull off the weight a little bit. When I'm drawing the rest of the arms, it's the same with the corners of her dress. You can see there a little bit darker. I'm doing all of this with the same pen line, but what you're getting is some really nice different pen weights. That's all the same weight. It's just gonna look really a lot like a coloring book page, which cannot be a cool look. But it doesn't give us much lightness or fun or flow to the to the illustration. Take my eraser. After I'm done putting a lines and I'll just to use the needed ones, I can just rub it over the entire drawing. Come and get rid of all the pencil lines you can lease of the pencil lines in. But you have to be careful when you draw with the skin tone markers because they will pick up the pencil and kind of create some, um, graphite smudges. So I just like going over it pretty good with the kneaded eraser just to make sure that you're not going to smudge when you add in the marker 8. Coloring The Body: this video. We're going over how to color the body. So take your light skin tone and you're right ahead. Colors. I'm going to start using E 00 for the skin using the brush tip, and I'm going to color over the entire body using quick short strokes. It doesn't need to be completely covered altogether 100% just fill it in. This just provides a nice base layer of skin tone. When you're drawing, it's always important to have a light source. I'm generally put it going from left to right. So it's like the sunshine is coming in from the top left and moving down towards the bottom . Right. So what this does it kind of lets you know where to add extra shadows. And so I'm gonna go back in with my e 00 and I'm gonna start coloring in the places on the body that would be shadowed if the light was coming from the top left. So that would be her left side of the face underneath the eyebrows underneath the eyes along the ear to put a little bit of ah, mark underneath, um, her chin underneath her nose. And then I'm going to go down to the next put in kind in the corner of her arm over here. Well, it on her chest. And then obviously her foreshortened arm is gonna be pretty much darker. And flights coming in from the top left, you're gonna see just the inside of the arms of her right arm is gonna be dark under the same thing with the legs. So the light is shining from the left. Where would the light to be hitting and what parts of the body would be in the dark? Her left leg, of course. Gonna be shadowed for more than her right leg. Same thing with her left arm. I'm so then I was gonna dark in that up a little bit and again, I remember every part of the body is rounded. I'm gonna show you here on the side a little bit about how blending markers works. So we put a light line, Then we're gonna add in the next color a little bit from a darker And then if you add in two layers of the marker, sometimes the same color on top of itself and then blending it into a little bit darker tone, which blends into a little bit darker tone. You're getting a nice Grady int and shading for skin tone. So we're gonna take the 11 and we're gonna go back over some of those darker spots. Um, so again, the armpit areas the inside of her right arm on the corner of her neck. Um, we're just getting keep going in the side of her nose for the late isn't hitting on her forehead. This is what's giving dimension to your figure. I'm using both a sketch marker and then this one is a classic. So the classic, um, just has two different types of tips, so it really is just whatever you prefer. So I'm switching over to the chisel edge to give it more of a sweeping motion. Um, it's a little bit less detailed, adding in the down at the feet, the darker tone e 13 and a minister, adding that into, um, the darker edges as well, and see how it's kind of creating a nice contrast already on our girl. So on the inside of the hands, again, just imagining where the latest hitting I'll go back to the mid tone and kind of shade out from the dark tone because it's a little bit contrast e for me and really, this just takes a ton of practice. So, um, if you condone Ross, um, girls, or even if you can just trace a bunch of girls if you want to just work on your coloring technique, So doing the, um, trace the girl and then Flipper and transfer it over on the paper and then just do a bunch of those and work on your skin tone that could be super helpful. Really. It just takes a lot of practice. So now we're going to do a little bit of the hair. This is E 33. I like putting in the color, starting at the ruts and just working my way down. I'm hair again. I tried to go in the motion that hair moves and I don't want to go in a horizontal direction because that's not the direction that hair moves. Um, some just slowly adding, in just the different base color, you probably won't see as much of this towards the end. This is a little bit darker, are darker tone. I'm just gonna can go around the sides around, Um, the area is that she's gonna have the darkest color hit by the light. I'm gonna go back in, um, with my mid tone and just kind of color the rest. Then I'll go back in with a dark color, so it's okay to, like keep jumping back and forth between your different tones. So you always want to be a little bit lighter with the dark colors and then always returned to them. If you feel like you need a dark and things don't go overboard with the dark colors because you can ever lighten the drawing where you might want it to be, take the brush tip. This time they also with your coping markers. Just play around with the types of with with the different tips and the different types of markers, maybe by a couple originals by a couple sketch markers, and you can decide what you like the best. There we went back in with a lighter color a little bit right, and then I'm gonna just take a look color you. Therefore, it's a blush. I'm staying over her lips, and I'm just gonna go back in with the Micron kind of touch up a few things. So I'm heading in a little bit more eyelash, giving her a little bit more of a dramatic I going back in, adding a little bit of textured or hair. Few wisps. A few girls, not the bottom, just to give it a little bit more dimension, a little bit more clarity. That is how you color in the body. 9. Coloring Your Outfit: in this video will go over how to color in the outfit. So the first thing we're going to dio is just take three colors. Ah, light amid tone and a dark, the dark and the mid tone will be be 99 the middle BB 37 the light tone will be be 34. And with your light tone, you're gonna start by just coloring in the whole outfit. And again, these can be any colors you want. It's just helpful to at least have three to get some good shading. Excuse my brush tip, and I'm just gonna follow around the It's that edge. It's kind of color in the hole. Well, outfit. And I'm also going to just make the shoes to match so coloring in both shoes and then I'm gonna go and take my midtown, and I'm just going to start going around, um, areas that would be a little bit darker. So remember, our light is coming in from the top left thumb was going to start coloring in the right hand side to be a little bit darker so that you can kind of see the contrast calling a little bit under her arm on the other side, slowly adding in the mid tone I'm gonna go back and I really just want my lighter tone to not be so contrast E So I'm gonna go over it again And you can tell how much darker gets by going over with the same color again, going back down to the shoes, leaving a little some light spots, more the lights probably touching so darker on the right later on the left and going back over again with the light color. So it's not as contrast id. Then I'm gonna take my dark tone and I'm gonna use the brush tip and then I'm going to go over to the darker side and start brushing the color over. We don't use light strokes with your brush. You don't need to be pushing down. Super hard can also gives it a nice, um, light feel kind of going around the edges with this. We're on the waistline and then going down to the shoes, adding a little bit on the right hand side of both of the shoes. Then I'm going to go back in with my micron, and this one is gonna be the zero to And I'm just gonna go around and kind of make the lines a little bit darker. He adding a little bit of movement. I'm giving a little bit more of a contrast line my that little squiggle down the front of dress like I just did there from the side of the shoes and maybe even at a little bit of contrast, um, on some of the points on her hair on her legs, I did. Sometimes this just gives a little bit more of a pop. What kind of go through the hair again? To get to the point that I like it you a little bit more around that one arm and there we have our finished illustration. 10. BONUS Material: - this one is too very basic bodies that you can work from. Um, no, you can do that with other. Um, like this, you can trace more. It's like this when you could trace her. Um, but these you can always. This shows you're really good image of how the legs work. Um, see, So it's a circle down and around. I'm gonna take a marker. It's only take a marker, see a circle down around like we drew. And then from that, there's a little on the outside on the inside going down into her ankle, and we can say the same thing over here. It's a cylinder coming down, same with this leg. And we have coming out of there a little bit of shape and coming up with that a little bit of shape to see everybody's leg down and around shape coming off. She's coming off down into the ankle, then goes down into a foot down into a foot down into a foot. Same with all of these. The feet, the ankle calf. So really just go and trace and trace and trace and trace until you get used to drawing bodies and drawing the different forms in different shapes that it becomes significantly easier