Illustrating Fashion Fabrics for Beginners

1. Intro to Fashion Fabrics: Fashion is really all about using different fabric to create these beautiful ideas that have come from your head and being able to put those ideas on the runway. Fashion illustration is really about conveying these beautiful textures and prints and fabrics that these designers have used and being able to represent them on the page. Hi, I'm Lori and I'm a fashion illustrator. I've had the opportunity to work with brands such as Neiman Marcus, pixie, beauty, coach, Nordstrom, as well as many others. And in working with these brands, I've had to be able to create a lot of different fashion fabric. In this class, I'm going to show you how I create all of these great fabrics like denim and sequent and shine Plaid for. So if you are looking to up your game a little bit in fashion illustration, and you want to learn how to create some of these beautiful textures. I really hope that you take my class. It's gonna be a lot of fun. We're going to explore a lot of fashion. And if you love fashion, this is certainly the class for you. 2. Class Project and Materials: For the class project, you are going to create a fashion illustration with at least one of the fabrics that I talked about in class. We're going to explore fashions that use these fabrics. And we're going to practice by sketching out at least two illustrations that have these fabrics Incorporated. I'm going to show you how I use different techniques to create those textures and fabrics. And in the end, you're going to create an illustration and post it to the project gallery. The materials you'll need for this class include a sketchbook, pencil and eraser. You'll need pens at least two sizes. I like to use the Micron pens, markers preferably alcohol-based, but whatever markers you have will work just fine. A white and black colored pencil, as well as others. If you prefer. A white opaque pen, I like to use the uni-ball signal, white opaque pen and the pencil sharpener to keep everything nice and sharp. Alright, let's get started. 3. Fabric Examples in Illustration: So part of the reason I love fashion illustration is because it's not an exact representation, right? It's sketchy, it's quick, it's artistic. It's your interpretation of what you're seeing. So I thought it would be great to take a look at some fashion illustration that incorporates some of the fabrics that I'm going to talk about in class. So that you could get an idea of what we're really looking for, what fashion illustration is really all about. So let's dive in. So the first fabric we're going to take a look at is denim. And as you can see, these are all illustrations that incorporate denim. You can see they're all pretty different. The first one is very dark. It almost looks like there's maybe a little bit of a shine to it. The second one is pretty monotone. The third one, there's a little bit more dynamic to it. You can see a little bit of the seams. You can see where there's some shadowing. And then the third and fourth are really different as well. But overall, all of them have the same attribute of being blue or indigo. And they all have a little bit of variegation, even if it's just slight. They have a little bit of lighter and darker tones to them mixed up a bit. A few of them like the first one and the last one, you can definitely see where there's white seems. So those are some of the things we're going to be looking at when we illustrate denim. So the next fabric we're going to talk about is animal prints and the examples here, all leopard. The first example is this beautiful tan brown skirt with these kind of half black circles. The second one is also leopard, That's a brown dot with these black dots surrounding it. Same with the third example. And then the fourth example is really kind of abstract. You can tell that there's definitely a print and animal leopard print there, but it's a lot more sketchy and less exact. So all three of these are great examples of leopard print. They're beautiful, they're sketchy, they're illustrated there interpretive. We're gonna be looking at a couple of other animal prints in the lesson, but these are all great examples of leopard print. The next fabric we're going to look at is lace. And lace really varies across the board. It's usually just hinted towards at least from what I've seen. And these two examples I thought were really great representations of a very delicate lace, but also a fishnet stocking with tool over top. So the first one is this beautiful lace cover up top. And you can tell that it's embroidered a little bit. And then it's got the lace netting detail. And then the second one, she's wearing these great fishnet stockings. And you can tell that the skirt is a, a tool kind of possibly with lace over top. Both of them are a little bit abstract and interpretive, but you get exactly what they're trying to convey. This fabric that we're looking at is sequence and shine and sequent and shine is a lot of fun to illustrate. It comes across in a lot of different ways. And these three illustrations are just beautiful examples of sequence and shine. So the first one, you can really see that they're beautiful. Sequence pants, a sequin dress. You can see where the light hits it. You can see some shadowing. But overall it's very sparkly. It gives off a very sparkly Look. The second one is the same. She's done beautiful shadowing. And there's just this beautiful sparkly shine to it that is certainly conveyed. And then the last one you can tell are these beautiful silk dresses. He has left a beautiful white line where the light hits. And you can tell that there's some beautiful draping. And he's been able to really highlight where that light hits in a way that makes it definitely look like silk. This next fabric that we're going to look at is for and for can be really tricky to illustrate. The examples that I've chosen are two vastly different types of illustration. And I loved that. I loved that they highlight that you can do it in two different ways and it still comes across on the page. So the first one is relatively simple. You can definitely tell that her hat and her coat or trimmed in for, it looks like probably a very fine soft fur, but it's relatively simply illustrate it with color and a few extra pencil strokes. The second illustration is much more detailed with color. But overall, you can definitely tell that there's a lot of there's a lot of softness to it and there's a lot of shadow and light to it. So both are great representations of for illustration. This fabric is obviously print, and print can be illustrated in so many different ways. Over all, the color and expression of all of these beautiful illustrations really conveys the fineness of each print. The first one is a beautiful print that, that is mostly red. You can tell that it's large and some spots at small and others. But overall you can kinda feel like it's maybe a little bit Spanish influenced. The second one is just this beautiful floral yellow and green print. And you can tell it's not exact, it's not super detailed, but you can see that it's a floral print dress. And the third one is this beautiful large floral print of pink and brown. And it's just absolutely gorgeous. It's not exact either. And it's beautifully done in a very sketchy, illustrative way. So all three are great examples of large print or print fabrics. And they are all represented in different ways. But overall, you can tell exactly what the artist was trying to communicate. This last fabric we're going to take a look at as plaid. And these illustrations are some of my favorites when it comes to plaid. This first one is this beautiful, rich watercolor illustration with this red plaid. And you can tell she hasn't been overly exact with the lines which I love. I think it's very, very representative of fashion illustration. The second one is this beautiful illustration of this blue and reddish pink plaid. And I love how where the colors have crashed. He's done these big black squares to show that intersection. The third one is this beautiful yellow plaid. And I just really think this one totally reminds me of clueless. I love how beautiful this one is. This one is more of a mixed media illustration where you can tell they probably used, He's probably used marker or watercolor and then done colored pencil over top of it. But again, you can see where each of those lines intersects with the black being a little bit thicker in those places. And then the last one is this really cute, again, very academic looking plaid. And it's really well represented. And again, with the overlapping stripes and coming together with those big thick squares where the stripes overlap. 4. Denim: Okay, so the first fabric that we are going to start with is denim. Denim is one of my favorite fabrics to illustrate because it's very easy to create a denim look and it gives you a lot of bang for your buck. It can make your illustration look really finished and really cool without having to put too much effort into the finishing of the denim look. So some things to remember about denim is that denim is made using a twill weave, which means it ends up having a ribbed texture all the way through it. And a twill weave is kinda like two threads under, one thread over. And generally speaking, denim is made with an indigo dye thread, a dark blue thread, and a white thread. So that kind of gives you that variegated look, that textured look all the way through the denim having the blue and the white thread mixed together. So I'm going to demonstrate a light wash, a dark wash, and a medium wash. And then we're going to move over to two denim looks. And I'm going to show you how it looks on a finished illustration. So let's go ahead and start with a light wash. I'm just going to use a really light blue. This is a frost blue Copic marker. And I'm just going to fill in. We're here for the light washes. It's a little bit harder to convey a real variegated look on the denim. But what I do is once I get the area filled in, I generally use either a white colored pencil, medium blue. This is called a cloud blue, or a darker. While this isn't dark, but a little bit darker blue as well, depending on what the denim looks like. So with the light, with the white, it's going to, it's going to really bring out a lot of white and you may not be able to see it very much, but it's still going to give you a little bit of texture. So hopefully you can see where that white is. Then if you use the light wash, if you use the light to medium blue, you get a lot more striations. You can really see a lot more of the of the different tones of blue. So it does darken the light a little bit, the light marker, but it's great to see the variegation. And then the blue like that, the darker blue. So once I have one line going one way, I then go back over it. Not everywhere, but just a few places in the, in the perpendicular direction. So just like that to kind of give you that, that idea that there's two different color threads. So you've got the light coming through, but you also have some dark, some dark lines as well. And then this for I mean, most of you probably know, but this is just a cross hatching, crosshatching technique. And this does really well to create that denim look. So that's how I do a light wash. So the dark wash, I use a really dark I'd really dark blue. This is called I get this is just a Copic. I'm just going to fill in my square here. So one thing you'll notice is when I color in the denim, I don't worry so much about there being dark, darker areas and lighter areas. That's going to just help confirm that denim texture. So with the with the dark denim, I usually just use a white colored pencil. But sometimes if you, if you want a more even tone, you can go in with a little bit of a light blue instead of a real stark white. So I'm just gonna do that cross hatching technique again, where I'm just kinda going over it. I'm not worried too much about the distance between the lines. So that's the white and then this is the light blue. And you can see that on the dark, there's not a huge difference in them, but you can tell that the white is certainly picking up more of the texture of the paper. So then again, I just kinda go back over that with Some more crosshatching, going the opposite direction. So and then you could know, kinda drawing your your denim seem kind of something like that. So that's the dark wash. And then lastly, we're gonna do the medium wash. And again, just filling in my square but not worried too much about overlapping markers, strokes because it's just going to add to the variation in color. So with the medium wash, I usually only use a white. The white doesn't, it's not real stark. It's not a real stark contrast, but it's enough. I'm just using a Prismacolor. You can use whatever you want, but you can kinda see the difference between the light wash, the dark wash, and then medium wash. And also the difference in using the three different colored pencils. With the medium wash. You could, you could go back through with with the darker blue pencil and create even more of a contrast if you wanted something that was just a little bit more textured. So something like that. So, alright, well we're gonna, I'm gonna go ahead and shift over to these two looks. This is an ally, a look from the spring, summer 2023. So one thing with denim that you will have to have is a pencil sharpener because it's really important to always have a very sharp tip colored pencil when you do denim. So I always have a ton of white, white and black pencils on hand for that reason. So first thing I'm gonna do is outline where some of my black lines have been lost because I just feel like that kind of adds to the definition of the denim itself. So it's going to add a couple of, these are just bold lines where I feel like the dentin materials probably a little bit crunched. Then we're just gonna go ahead and go over the top like that. And then Thursday is really fabulous feathers at the bottom and I think they're actually black. But I'm just going to do them blue. Alright, so That's kinda the denim jumpsuit look. And then I'll come back in and finish for her pearls after we're done with this look. So this is also all denim. This is actually a ribbed section right here. And I thought that would be good to demonstrate really how to define a ribbing pattern. And Denham, I'm gonna do this one in a, in a medium wash or a light to dark or medium to dark wash. So this is actually a smoky blue Copic. Alright, so with a medium wash, you're really going to be able to see some of the shadows. So I'm going to take another color and other blue that's slightly darker and I'm going to go back over it with with that marker just to bring out some of the shadows. So because denim is not shiny, it's not going to have extreme shadows or extreme highlights. So you don't have to worry too much about that, but I'm just going to go back in again with my white pencil and I'm just gonna do the cross hatching technique to start. And I'm gonna go back into the core set and take that really sharp pencil and do these courses lines here. All right, and then I'm gonna do one other thing. Again. I'm sharpening my pencil. And I'm just gonna do the Theme lines. There is the denim jumpsuit blog. So I'm gonna go back over with this one and just show you this pen touch to go back over it to create some pearls. So this is basically a paint marker. It's a quick dry, permanent, opaque, white, medium point head marker. That would spell them out. Alright, so those are our two denim looks from Elias spring, summer 2023. Go ahead and try it out on your own. Experiment a little bit with denim and see what you think. And I will see you in the next video. We'll be working on animal print. 5. Lace: Alright, so the next fashion fabric that we're going to talk about is lace. And lace to me is so feminine. It can still look very, very delicate and very, very sweet. But then it can also look really rock and roll and kind of punk when you get into the fishnets and the ripping. So it's kinda like a mark Kazaa versus Betty Johnson kind of thing. And I love it for that. I love that it can be both. The one thing that you'll want to remember with lace is that you want to be able to see the skin tone through the lace. So even if the garment itself, when you see it in person or when you see the photograph, it does. You can't see the the skin tone. You still want to convey that it's lace in an order to do that, you want to be able to see some skin tone through it. So make sure I'm start with your skin tones. Make sure you put all of your skin color in first. And then the lace texture is always going to come last. So I'm going to demonstrate how I do two different lease lease textures. One that's a little bit more delicate, and one that's a little bit more fishnet. So I'm going to start with the one that's a little bit more delicate. And I'm going to start by using my number five micron. And I'm gonna do the larger details first. And keep in mind, again, this is fashioned illustrations so you're going quick sketchy. It doesn't have to be perfect. So I'm just gonna go ahead and get started. Oh, and the other thing I wanted to mention is if there are shadows in the areas that you're doing lace, make sure and put those shadows and before you do the lace, because you really don't want to go back over with your markers once you put down your micron. So I'm just going to start by just kinda doing floral shapes, but nothing that's like super recognizable as an exact replica of the laser itself. Okay, so now that I've got my main flowers in are my main shapes in for the larger parts of the lease. I'm gonna go back over the whole swatch with a number one. So this is a really fine point micron. And I just use a cross hatching technique. I tried to go pretty close together, but it really doesn't have to be perfect because lace is so, so, so intricate and delicate with the wave on it. It just doesn't have to be exact, exact distances from each other kind of thing. So you could leave it like this. And it's still really conveys itself as lace. But I like to go back over the other direction just because it creates a little bit more opacity. Okay, so you can see now how it looks a lot more like lace. Then the last step is, I'll usually go back in with a thicker micron, like a ten or 12. And whatever spaces are truly filled in, I'll kinda go back over it so, you know, doing something like this so that you kinda get the sense that these are the bigger pieces. Then of course all of these pieces are woven together. So again, I'm going to use my number ten. And I'm just gonna do these little scribbles really is all they are. Yeah, something like that. So that's more of an intricate, detailed piece of lace. Course you can always spread those out and do more of just the crosshatching. Just this cross hatching technique can make for a really, really fine mesh as well if that's part of your ensemble. So then going to the fishnet, I'm just going to add in my skin tone. Alright, so fishnet is obviously a much thicker, much thicker lace. And depending on how spread out the fishnet is, how wide the gaps are, that will denotes the way that you draw it in. So I'm actually going to use the number eight. You don't want to go too thick with your pen because then it can just muddy up your leg or wherever you've got the fishnet. So I would go no larger than a number eight micron. And then just once. Definitely a running out. But then it's just it's kinda the same thing as the lace with the crotch cross hatching technique. But you're you're leaving a wider gap. And you are, You do have to pay attention to making sure that the widths are even. They don't have to be perfect. But with fishnet, you do, you can distinctly see each line. So this would be more of a fishnet. In fact, this kind of reminds me of a Christmas Story, the leg lamp. That's how I would convey the leg lap. Alright, so we're gonna move over to our looks, and this is a Dolce and Gabbana look from spring 2022, and this one is Isabel Murat from this fall, winter 2022. I've already drawn in my skin tone, so I'm going to move on to the last detail and the lace detail is on the top. The skirt is a shiny sequence skirt. So I'm not going to do too much detail on that because we covered that in a different lesson. But I'm gonna go ahead and just sketch in the skirt. And then with the lace detail. Again, you want that skin tone showing through. I'm just going to gently go through my shirt just like this. And then I'm gonna take my darker. And then as you can see, the color is black. So I'm gonna go ahead and fill in the color. Alright, so now we're gonna move on to the last detail itself. And this one. This one's kind of a mix between between a fishnet and an intricate because it's got more of a fishnet between the, the larger parts of the lace. So I'm going to start like I did here. And I'm just going to use my number five. And I'm going to go ahead and do the larger parts of the lace. Okay, so now we've got the lace conveyed and I'm just gonna go back over it with a number one. I might even try. Well, I'm going to use a number one, but I think for this print, you could really use a number two or number three to go back over it with the crosshatching because it is kind of more of a fishnet. So now that I've got the crosshatching done, I'm gonna go ahead and go back in with a with my number five, the same one that I did my flowers with. And I'm going to connect all of the larger pieces in a diagonal, diagonal way. Okay, so something like that for the dolce and Gabbana look. Then moving on to the Isabelle morons, Isabel Murat look is also a lace top, but it is extremely delicate. It's pretty much a completely stop. And then black pants. I'm gonna go ahead and do my skin tone. And then I'm also going to do the pants. Alright, so I'm going to start on the big flowers. I'm going to use a number five and I'm gonna do the big felt, the, excuse me, the big flowers and they are kind of in a pattern. I'm on the sides of her torso. So I'm going to start at the top and just and then these flowers are relatively filled in. And then I was going to go ahead and denote that that's her bus line isn't really shown. Her collarbone is, but her bus line isn't quite that pronounced, but I just want it to be apparent in the illustration. Actually going to go back over the big flowers right now with an eight and color them and a little bit. Then this lace detail is a very fine mesh. I think it's meant to be almost translucent, so I'm actually going to use 0.05 and this micron is so, so, so, so fine that you have to be delicate if you use a 0.005 because you can bend the tip very, very easily. So I'm just gonna do that same kind of cross hatching technique. Alright, so something like that. Then this print actually doesn't really connect or this pattern doesn't really connect, diagonal connection. So nin, So I'm just going to leave it like that. The last little detail I'm going to do with their lips and their champagne. So go ahead and practice on your own. Really explore different kinds of lace textures and lace designs. And I can't wait to see what designs you end up illustrating. When you're ready, go ahead and move on to the next lesson. 6. Animal Print: Alright, so the next fabric we're going to illustrate is animal print. And animal print is so, so, so, so fun. It really elevates your sketch and it is so eye-catching. An animal print I think is pretty straightforward. I'm going to start by doing a leopard print and then I'm gonna do a cheetah print. I should have grouped these a little bit better, but leopard and cheetah are very similar. And then after I show you those two, I'm going to show how I illustrate zebra and Tiger because Zebra and Tiger are very similar as well. I'm not sure again why I drew it out like this, but we're gonna go with it. Then once I show you how I illustrate those prints, we're going to move on to some Roberto Cavafy. Looks. We'll go ahead and get started. Over here on this side with the leopard print. The leopard print. You start with a base, the leopard and the cheetah, you start with a base color and it's usually a pretty light brown. Again, the rule you want to always start light and go darker, because once it's dark, you can't really change. You can't really go back. So with leopard print, the things that stand out most number one are the base, but then you have a dot and it's surrounded with black, with black dots. So I'm going to start here and with the leopard print, I'm not going to worry too much about the lines. That's really streaky. But with leopard print you do get some, you get some, some darker shades and lighter shades. So you kinda pick where you want some of those lighter shades to be and then fill in. Go back over the areas where you want darker shades. So something like that. You can see that I'm not being overly careful because it's not animal print isn't perfect. As you can kinda see, I've done dark on the outside with a lighter shade on the inside. So once you have your base color, I go over it. I go and draw some some dark kind of kidney bean shapes. So kind of like that where you've got kind of a fat end and a thin end and they kind of loop around and kind of just do them all over lots of sizes. This is getting a little bit. And you can even add another almost like a dot. That kind of completes the circle. All your kidney bean shapes. We're gonna go around the edges of them with some black dots. So get your blackout. Start here. And the black kind of encircles them. So the black will cover up wherever the hole was or where that kind of other shape that the opening of the kidney bean is. It'll kind of cover that up. I got a mom. Alright, so that's how I illustrate left leopard. It's pretty straightforward, it's pretty easy. Just your three steps, your base coat, your big dots, and then the black dots surrounding the bigger dots. So I'm going to move on to cheetah. Cheetah, I usually start with a much lighter brown tone. So there's not as much variation in a cheetah print as there is in leopard. So you don't have to do the darker sides. You don't have to vary the tone, but definitely a much lighter brown. And then I'm gonna go back in with a dark, or really dark brown. And with the cheetah, you, you only do 11 spot, you don't then go in and add spots to your spots. So with the cheetah it's there just a little bit longer. You just kind of, you know, kind of and they're not they're not quite kidney bean shaped. They're, they're definitely not around spots. But they definitely, you definitely don't want quite the same kidney shape as the leopard print. Alright, so you can kind of see the difference between the leopard and the cheetah leopard is obviously a darker brown tone, a little bit more reds, and you can change the size of the dots to be a little bit longer as well if you wanted to, but then you're going around the outside that those dots with another color of black. Whereas the cheetah is really just two different colors. It's a lighter blue Yonder, brown on the bottom, with really deep dark brown spots covering the, covering the lighter tone. So next we're going to move on to Zebra. Zebra and Tiger are very, very similar. It's really just the base coat that's different. So with Zebra, What I'm gonna do is I'm going to kind of think about this as a 3D shapes. So I'm going to think, think about it like this is the back of the zebra, this is the upper part and this is the belly of the zebra. So I'm just going to add in some really light shadows because you're, you're zebra print isn't gonna, it's gonna have folds in the fabric. It's going to have, you're going to have no, maybe something like that. It's not gonna be perfectly flat and those folds on white come across as gray. So you're going to add a little bit of gray first and then I'm going to take a black. And it's basically drawing lines that come together like this. Like you're kind of almost interlocking those lines. And you're just using different pressure to create thick, a thicker width and then a thinner width. And kind of get the idea where these are kind of interlocking lines. And it's really all about playing with the width. What I like to do just to really refine it and make it kinda finished and polished looking is go back over the edges of this line with my micron, with my pen. Moving onto tiger, tiger up and do the same thing as the Zebra with the stripes. But I'm going to actually start with with a base color. Essentially you're doing the exact same thing as you did with the zebra print, where you're just forming those interlocking lines. I'm with the tiger. However, they're not quite as long. They're a little bit more thick and end more pointed. Well, not more pointed, but they're thick to thin quicker than the zebra lines. So remember when you're creating these prints that it's not an exact replication. Fashion illustration is about doing things a little bit quicker and making it a little bit more sketchy. You can certainly take your time. You can study animal prints and really make it very detailed in and do more of an exact replica. But this is how I create these animal print swatch it are these animal prints. And I'm going to move on to the, the looks from Roberto Cavaliere. This coat has a much larger leper print than the body suit itself. So that's gonna be fun to play with a little bit. So the first thing I'm gonna do for this one as I'm just going to do that base coat. Alright, for the next step, I'm gonna go ahead and do the darker spots and then the dark around the edges. And for this one, the dark spots aren't super dark like this. They're just a hair darker than the actual base coat, so I'm going to use just one shade lighter. The reason that I did a bigger a bigger square or a bigger circle rather than the kidney bean shape is because that's really what it looks like on the code itself. Really the print. So it just kind of adjust it there. So now I'm gonna go back over and do the outsides of each spot. Alright, so I've got the coat done and as you can see, I tried to just mimic that print a little bit more accurately, like it shows on the model. And you can see like pretty much every spot has an outline to it, but it's, the outline is different widths in different places. So now I'm gonna go ahead and do the body suit. And the body suit has a smaller, much smaller dot. So I'm gonna do a much smaller dot, but I'm going to keep to that lighter brown. So alright, so now I'm done with the spots. I'm gonna go ahead and go back through and do the outline of each spot much more like this. Alright, so you can kinda see the difference between the coat and the body suit. Not, not a huge difference, but you can see that these spots are smaller than these spots. And you can, even if you wanted to create more contrast, you could even go back in with that kind of mid tone and really accentuate where these spots are, creating just a little bit more of a difference between the coat and the body suits. So anyway, I'm going to move on to the zebra coat. So for the zebra look, it's gonna be a zebra top and zebra boots. And I'm just going to go in with my warm gray and do kind of show where the shadows are going to be first. Alright, so now that we're done with the shadows, I'm going to go back in with my zebra lines and I'm going to go this direction. Alright, so now that I've got my stripes on it, I'm gonna go ahead and go back through with a pen and refine the lines. Alright, so that's how I illustrate animal print. Go ahead and practice on your own. I can't wait to see what you come up with and what your final animal print illustrations look like. And once you're ready, go ahead and move on to the next lesson. 7. Floral Print: Alright, so for the next fashion fabric, we are going to look at floral print. Floral print can vary. It can be very small, it can be really big, really, I guess what I mean by floral print as it can be any kind of print, whether you've got flowers or whether it's something else, insects, animals, you know, any, any kind of print on your material leaves, the tropical leaves. This is my take on how I do large printed fabric. So I'm going to illustrate these two fabrics. One has a large floral print that goes all the way through with a mid-tone blue background. And the other one is a yellow with white flowers that have just a little bit of blush in them. Let's go ahead and get started. I'm going to start with this blue, this blue floral print. And I'm gonna do this up here. It looks like there's even some butterflies, but the main thing that you want to remember when doing any kind of printed fabric is in fashion illustration. It's all about illustrating the main points of the fabric. So I'm not going to get mired down in the really tiny details are in the really specific details I should say. I'm going to capture the overall feeling and look of the fabric. So I'm gonna make sure and capture the bright pink flowers, maybe a few of the light blue flowers, and then the dark blue leaves and the mid tone leaves. So I'm going to start with the light blue flowers because they seem to be a little bit more on the top, the very top of the print. And I'm just going to kind of put them where I think they kind of go. I'm not going to worry too much about being overly accurate, but just kind of drawing a couple here and there. I'm going to move on to the dark pink flowers. And then I'm gonna go back in with the mid-tone blue or ultramarine blue. Some of the leaves. Again, I'm not worried about the placement being super accurate with these leaves. I'm just trying to capture the fact that there are a lot of these shaped leaves in and around and kind of scattered throughout. So now I'm gonna go in with a really dark blue because there's just a few really dark, dark leaves in the very back. And again, just kind of a nod to them being there, something like that. And then the background is this really pretty smoky blue that I'm going to go ahead and fill in a little bit. I know that there are white butterflies here and there, but they're not a huge part of the pattern itself. And so I'm not going to worry too much about, about including those because it's just It's just a representation of what this looks like. So I'll leave some white spots here and there and filling accordingly. So now that I've got the colors down where I want them, I'm gonna go back in with my number one and I'm just going to fill in the line detail. I have a little bit of whitespace here, which is where, what are the butterfly wings kind of shows. I could, if I wanted to kind of put a little nod to a butterfly wing there, something like that. But I'm just really not worried so much about exact detail or accuracy. I'm worried about getting the colors right and getting the shapes right because that's what stands out most to me in this sprint. This is kind of how I do a larger prints. So moving on to the next prints. This is a yellow background with white flowers and there's a fair amount of black ink work on the flowers. So what I'm gonna do is kind of visually map out where I want some of those bigger flowers to be and kind of outline them with my marker like that. So I'm not trying to get it exactly like the placements of the flowers exactly right. I'm just looking at the pattern, seeing that there's usually a big flower and a couple of small flowers around it and then some spots here and there. So that's kind of what I'm doing. I'm just kind of outlining where I think the larger flowers are and then where the smaller flowers might be. Something like this. Then I'm gonna go back through and Color in that background, avoiding where I kinda feel like those white flowers would be. Then I'm gonna go back into it with a larger size micron, probably a number five. This is the number five and I'm going to sketch in those flowers where I've left those whitespaces. And they're really kind of kind of remind me of like Dr. Seuss flowers a little bit. I probably didn't leave quite as much white as I should have. Um, so kind of getting the gist, I'm gonna go back in with my yellow and really hit some of the background a little bit harder so that there's a little bit more definition to where the flowers are. I'm gonna go, I'm gonna take my number one and do a little, a few finer details. Do some little spots, some work fine lines. So you can kind of start to see there is definitely resemblance, but it's not exact, right? Really quick sketchy representation. And on a garment, you're gonna be able to recognize that these are the two same fabrics. So the last thing I'm gonna do is I'm actually going to go back in with my white uni-ball pen and kind of create some bigger white areas in where the flowers are. And hit some of those white dots around with the unit ball. Right? So that's how I would do the yellow plural. So now we're going to move on to a couple of floral looks. One of them, this one is by Zimmerman and it's this beautiful purple look. And this one is by Philip plane and it's this beautiful green tropical look. So let's go ahead and get started on the Philip plane. This is a really beautiful tropical leaf kind of print. And you can get really detailed with the leaves. I am not, this is very small representations, smaller illustration, so I'm not going to worry so much or get bogged down with the details. I'm really going to focus on where the colors are and where some of the larger leaf shapes are. Okay, so I'm just going to start on the jacket here. And I know that there's like some of these leaves that are kinda look like that. Somewhere. Tropical leaves like this. I loved the inside of this jacket to, it's an animal print and it's just so fabulous. Sometimes too, when you are, when you have very small details are very small shapes, but you're representing them on a smaller garment or on a smaller illustration. Just adding a shape is going to represent it just fine. So I'm not, I may not get the exact leaf leaf shape. Perfect. But as long as it's a leaf shape, I think that's good enough. Okay, so I'm going to switch up my greens to a lighter green now and I'm just going to continue to do a few smaller leaves. Alright, and then I'm gonna go back in with a yellow and do a couple of these yellow flowers. Now that I've got that kind of laid out, I'm gonna go back in with a darker green and just creates a little bit of depth on the leaves themselves. Alright, so now I'm gonna go back in with my number five and I'm an outline some things. I'm going to outline some of the flowers and some of the leaves. And by outlining this print, it's going to give me a little bit better, um, ability to add in the black background. Then I'm going to now go back in with my black and fill in spots on the background. I'm not gonna be overly perfect though with it, because as you can see, there's, there's, there's some white flowers. There's also a fair amount of shine to it. So I'm not going to be I missed a spot. I'm not going to be exact with the background. Alright, so now that I've done with the black, it looks a little bit uncapped or unfinished a little bit. So what I like to do, especially when the background is darker and I have to add it in last. I like to go back over my outlines with a number five or something that's just a little bit thicker or not. Maybe middle, middle of the road with the microns. Just to kind of really fresh enough and crisp up those edges. Alright, so I'm going to call it good with the pattern. And then I'm gonna go back in with a white and just add in some highlights and details. Alright, so that finishes up that Look for me. That's how I and sketch out these kind of more complex patterns. And I think it's a really good representation of this Philip plane look. So I'm just going to finish up the look by coloring the person's shoes and the hair. Alright, so that finishes up the Philip plane. Look. We're going to move over to the Zimmerman look. This is a really pretty purple floral print. And it's, it's really, the things that stand out most to me are just that dominant dark flower, purple flower with the pink background. And there are some small leaves here and there. But the main thing I'm going to focus on is that really dark purple flower. So let's get started. And I'm going to go back into it with this really bright ultra, ultra marine blue and do some highlights on the flowers themselves. Alright, so the background to this is a really light pink, and then there's some dark pink flowers kind of speckled through. But I'm gonna go ahead and put down the light pink first. Hari, something like that. So I don't really have a room in this illustration to do, to do the leaves. But I think it's okay because it really is representative of what this garment looks like. The overarching piece that stands out is these bright blue purple flowers. So I'm gonna go back in now with my number five. And I'm just going to outline some of these flowers. Last thing I'm gonna do because this is a shinier kind of silky material. I am going to go back in with my white unit ball and just kind of put some highlights in here and they're great. So I'm just going to finish up this sketch by finishing her hair, sunglasses, and a little bit of the shoes. Alright, so that finishes up the two fluoro looks, the Philip plane and the Zimmerman. Again, I just want to reiterate that the most important piece that I think when illustrating floral any kind of pattern is to make sure and pull out the main visual cues that you see, whether it's shape of the flower, whether it's color. And really just convey that overarching piece. You don't have to be detail oriented. It doesn't have to be an exact replication. But by just pulling out those main pieces and representing those in your garment, you're gonna be able to have a really successful illustration. So go ahead and practice on your own. I can't wait to see the floral illustrations that you do. And when you're ready, go ahead and start with the next lesson. 8. Fur: Alright, so the next fashion fabric that we're going to talk about is for and for is a lot of fun. It can be a little bit difficult to illustrate and really have all the little fine hair texture come through, but it is definitely doable and it's super fun. So I'm going to show you two different kinds of, for one that's a little bit softer and lays a lot flatter, It's a lot finer. And then one that's that teddy bear for fabric that was popular a few years ago. I think it was. It looks almost a little bit more matted and currently. So I'm gonna go ahead and start up here with four. You want to make sure to remember that even though it's kind of monotone, there is going to be some variation in shadow and light, and it's going to be all over so you are gonna get some shadows, but overall it's going to all blend together a little bit more than other fabrics. And also for is very almost. When you illustrate it, you almost have a blurry, very soft blurry hue around it. That's another good way to think about, to think about for, at least for me. So for this top one, I'm just going to do a really light blonde kind of fur. And I'm going to start with, for you want to always start light and go dark, which is true for most, most illustrations. So I'm just going to go ahead and add color in my swatch. And I'm not going to, I don't care too much about overlapping lines or the variation in dark and light tones. Because with for you, you're going to have a lot of that. So i'm, I'm also going to go over the edges and kind of create this kind of blurred line. Because that's what That's what for kind of does with your eyes. It kind of blurs. It blurs that it doesn't create a hard edge for your eye. So can I just go over the the, the, the border here. And with the finer for your strokes are going to be a little bit longer. And they're also going to generally go the same way. You're going to have some strokes that go against the grain. But for the really nice high-end luxury, for look, that's really, really soft and shiny. It's going to be just, it's all going to kind of go the same direction for the most part. So then once I've got my main color down, my, my lightest tone, but light is to medium tones down. I'm gonna go back over it with a little bit darker tone, but not super, super dark. This is, and I'm going to just go over the edges and it'd be really super light. And I'm not gonna do the whole edge. I'm going to skip some areas. But again, I'm just trying to kinda keep going the same direction. You might have one or two that go a different direction. But as you can see, for the most part, they all kind of comb in the same direction. Then I'm gonna do that in the middle of this swatch to just kind of go in the same direction with this color. And not, not like everywhere, but, but a lot. I'm going to do a lot and I'm gonna do it all kind of going down. I wouldn't wanna do one going up because that just isn't the case. It's just not not something you're going to see necessarily with your eye on the middle of the fabric. Maybe you could do that over here, but not in the middle. So as you can see, you're starting to get that kind of feel. And it's that long kind of soft, luxurious, silky look. Then if you want, this is, this is you don't have to do this part, but I like to go over some of the darker areas that I, that I can see with an even darker marker and just really lightly define some of those pieces. Just really super, super light. It's all about with, for it really is about variation in color and tone. Really just kind of something like that. Just really light. So that's three different colors. Starting with the lightest and then starting with the lightest, going to a medium and then using the dark. If you so wish too. For the very finishing touch, I'm actually going to go over it with a number five micro or excuse me, a number one micron. It's really, really fine. And this just helps that illustrative, sketchy look to me. That tops off your illustration. So again, I don't do it everywhere, but I try and keep the strokes really close together for these, for the really nice, long, shiny, kind of luxurious for luck. So something like that. So that's gonna be your kinda long, fluffy, shiny fur. I'm gonna do another swatch down here. That's really more of like I said, the matted teddy bear for look or the fo for really is what it is. And I'm actually going to start with the dark to medium tone. And I'm just gonna go over my whole swatch here again, I'm not too worried about how variegated the color is. Then once I have my color laid down, I'll go back in with this kind of bumpy, I guess bumpy kind of stroke where you're kind of creating these kinds of spots, almost hit the edges a little bit. Then once I do that, I'm going to take the same color and do what I did up here and do some of the some of that kind of strokes that make the appearance of here hair. So I'm not going to do them quite as long. And I am going to go back through the middle and do those strokes as well. This kind of fur texture has a lot more variegation and as far as a shadow and light goes, and it also, you can, you don't have to all go the same way with your, with your brushstrokes, with your marker strokes. Because it's a lot more matted. You're gonna get a lot a lot more direction in your hair and the fur. So you can kinda see how the how the texture is kind of starting to come, come to life a little bit. Okay, so then once I have that in, I take my dark marker and do the same thing that I did up here and kind of just go through and do some of the some of the hair strokes. But i'm, I'm doing it in a random way because this kind of texture, you're kind of going in all directions. It takes a long time, but it's almost meditative to do. Alright, so there's kind of got more matted look that I do and then how I do it. And then I'm gonna go back in with my number one and I'm gonna do the same thing as I did up here, but just with shorter strokes. Right? So those are the two different for textures that how I illustrate the two different for textures. So we're gonna go ahead and move over to our fashion figures. And these are both looks from Michael Kors. They are just absolutely beautiful. I love, I love these two books. Of course, I'm a huge fan of Michael Kors. Going to start with this first one and it is a yellow, it isn't all yellow ensemble and a yellow big yellow fur coat. So I'm actually going to start with a really light yellow and I'm going to do the whole the whole. Alright, so now I'm gonna go back over it with a brighter yellow, since this really is a true bright yellow fur coats. So now I'm gonna go back in with a little bit darker yellow and create some of those shadows just a, just a little bit. So something like that. And I'm going to go back in with my light yellow and I'm just gonna do a little bit of blending. Alright? And then I'm gonna take my number one and I'm gonna go through and just do a little bit of a, are just some strokes to represent some of the fur on the inside of the code, as well as some more on the outside. So something like that. And I'm just going to finish up the sketch real quick. Alright, so that concludes the yellow fur coat. I'm going to move on to the town. Look. This is all one color. There's not a lot of variation in the drafts, the boots, and the coat. So we're gonna get, I'm gonna get the three colors that I used over here. In this one, we're going to go ahead and do this, this look. Okay, so let's start with my lightest color first and just go over the whole look. Alright, so for the next part I'm going to use my medium tone and just go over it with those same kind of strokes. This one too is a very fine for or a very kind of it looks like a very soft long for. So gonna do the same thing as I did here. Alright, so now that I've done that, I'm gonna go back through with my darkest and just do some hints here and there. And I'm just using the lightest of pressure. Alright, and now I'm gonna go back through with my number one and just really highlight some of those first. Alright? And I'm just going to finish up my sketch. Alright, so that's how I illustrate for go ahead and practice on your own and certainly try out the techniques that I've, that I've talked about here. And when you're ready, go ahead and illustrate your fur. Look, I can't wait to see what your illustration turns out to look like, and I look forward to seeing you in the next lesson. 9. Shine and Sequin: So the next fashion fabric that we are going to talk about is fabrics that have some shine or some sequent to it. These fabrics are sometimes a little bit more delicate to work with. The key to shine or too shiny fabrics is to really identify where your light sources and then where that light source is hitting on your garment. So once you've identified where your light sources, whether it's straight in front of you, whether it's coming from the side, whatever part of that garment is closest to the light is going to end up catching most of the light. And then once you can map out where those light spots are, you just have to not put any color on them, at least not to begin with. So the first thing that I'm going to show you is just shine. I'm gonna do shine here and I'm gonna do sequence here. And I'm just going to use a blue. So if our shine is kind of in the middle here, you want to color just kinda up to that point, kind of leaving that pass white. So I'm going to leave a path here just kinda like that where it doesn't have to be perfect, but you can see where the light is hitting that that, that garment. And then with, of course with the kopecks, you can either go back over wherever you're kind of your shadows are with the same color and map those out, or you can use a darker color and map out your shadows as well. So once you have your shadows down, that's that you can pretty much call it good for shine. You can go back over the edges a little bit with lighter, a lighter tone of the marker or the color that you used. And that kinda adds a little bit of a blurred effect to the, to the line of the light. So something like that where you have the really bright white spots right down the middle, but then it slowly fades into something that's a little bit, a little bit darker. And then you've got your really dark shadows. And of course you can, you can also go back over those shadows with an even darker and even darker color to really highlight those shadows where those shadows are gonna be. So I'm gonna do the exact same thing here, but I'm going show you how I do sequence. Sequence is the exact same beginning and then you just continue with a couple of other steps. So I'm going to go over my swatch with my mid tone. Kinda being mindful of where the Shinar, where I want the shine to be. So something like this hole right there. So my my highlight line is kind of rate right in here in this area. And I'm just going to take my lighter color and blend the edges just a little bit. This isn't a necessary step, but I like the way that it looks personally. And then I'm gonna go back over a couple of spots with my the same color with my, I'm just adding some pretend shadows here and there. Denoting maybe folds and fabric or something, something like that. So once you get to this stage, the next is putting on the shadows of the sequence. So your sequence, because they sit a little bit off your garment, they're going to have a little bit of a shadow. Some of them, not all of them. And that shadow is going to be more apparent once the light hits it. So I'm going to take a black and I'm just gonna do dots. And I'm mainly gonna do dots around my main highlight areas. I don't want to cover up the white necessarily, but I want to get really close to it. And then I'm gonna put a couple others around some of the some of the edges of the shadows. So something like that. Then I actually use two separate pens to do the white. I start with this recollections opaque marker because it gives a nice kind of halo around the dots. And then I go back over it once it's dry with the unit ball signal, white opaque pen. So I'm gonna go, I'm going to take my recollections. And as you can tell, this is more of a felt tip, which is what gives it a pretty halo around the dots. And I'm gonna go back over. All of my black dots first. So you can already see some of the sequence really starting to come to life. I'm going to continue with this and I'm just gonna do a ton of white dots. Alright, so you can stop right here if you want. I think this is a beautiful effect. It definitely shows shine and sequence, and it's certainly conveys the texture of the material. But what I like to do is to go back over it, like I said, with the unit ball and just get some really, really bright whites here and there. So I don't go over every single dot, but just some of them with that really, really bright whites. And then last but not least, again, this isn't a step that you have to do, but I do like to do a couple of little sparkle lines which are just basically a cross through, through some of the sequence that are that are kind of close to where the shine area is. And this just kinda adds that extra little bit of confirmation about how shiny the material is. Just something like that. So there you've got sequenced, so it's a little bit hard to tell with the shine on a swatch. It's really easier to tell on a garment. Let's go ahead and move over to our fashion illustrations. This is a Bagley, Michigan spring summer 2023. It's this beautiful light blue sequence to peace. And then this Tom Ford, that is just a stunning, shiny, sparkling number. So I'm going to go ahead and start with the Bagley me, Scott, and I'm going to start with the light blue color. So immediately I can see that there's, there's gonna be some shine here. My light source is coming down this way. There's gonna be some shine here, some shine here. And probably on the two leg areas here and a little bit on the bow. So I'm going to try and avoid those areas a little bit. Alright, and now I'm gonna go back over with a little bit darker color. It's this kind of Robin's egg blue just to really be able to see some of my sequent areas. Alright, so at this point, even though this is a lighter color, you can still see how the China's coming through where I've got these highlighted areas. So now I'm gonna go through with my black Prismacolor and I'm just going to do some dots. Alright, so now that I've got my, my shadows for my sequence set, I'm gonna go ahead and go back over with my recollections. White felt-tip pen. Okay. So now that I've got all the shadows covered, I'm going to stick with my recollections, felt tip white pen and I'm just going to add in a ton more white dots. Okay, so the other thing I wanted to mention real quick is when you are doing your sequence, it is totally fine to go over the edges of your outline. When you think about shine and sequence, it does, it does kind of break up that line of the garment. And so I think it really adds to the texture. If you do add sum of the sequence to the actual line of the garment itself. So now that I'm done with the White felt tip pen, I'm gonna go back over with my unit ball and just really try and bring out some of those white bright lights. Alright? And then last, I'm going to take my number one micron and I'm just gonna do a couple of those little stars. Alright, so that does it for the garment. I'm just going to quickly finish up her hair and her lips and her shoes. Alright, so moving on to the Tom Ford, look, this is a really pretty pink jacket. A rust color County and a really beautiful purple Gaucho pants. So I'm gonna go ahead and start with the jacket and I'm just going to use my mid tone pink to go over most of the jacket, avoiding the areas where I see highlights. So I definitely see a highlight on the color. Of course, my my light source is going to be right in front, so I definitely see a highlight there. There's probably going to be a highlight here, maybe a little bit here. And of course, down on the sleeve here and here. So same with, with the other pieces. So that's it for the jacket. I'm going to move to the Komisar using kind of a, I'm actually going to use a dark dark, rusty orange for the camera Saul. And then moving to the pants, I'm going to use a mid-tone purple. So you can see I've used the sketchy kind of brush stroke he kind of way to, to with the marker in order to convey those shine, shine areas. So now that I've done that, I'm gonna go back over with my darker, my darker colors and really put in some of those shadows. Right? So you can see at this point, if I just wanted to shine light on the blazer, I could be done at this point. But the pants and the chemists all definitely have more sequence to sparkly kind of look. So I'm gonna go ahead with my black Prismacolor and I'm gonna put down just some really light, light shadows are some very small shadows because these sequence are much, much smaller than the faculty me she can look. Okay, so something like that. Then I'm going to next get my recollections. Opaque felt-tip marker and I'm just gonna go over my shadows. All right, so now I'm going to take keep with my felt-tip and I'm just gonna go over some of the, some of the light where it's really light and shiny, I'm going to stick to those areas because again, this is a much smaller sequence, so it's not necessarily an all over sequence. It's more of a shine rather than a sequence. So I'm just going to stick to my main highlight areas. All right, so I'm gonna go back over with my unit ball, but I'm only going to hit a very few amount of areas on this look. Alright, and there you have it for the Tom Ford look with the shiny sequent pants and cancel and the really beautiful shiny jacket, silky jacket. So I'm just going to finish it up. I'm just going to finish her her lips, her hair, and her shoes. Right. So there you have it for shine and sequence. Go ahead and practice on your own. I'm really looking forward to the looks that you choose to experiment with and what your final illustrations look like. Once you're all finished and ready to move on, I'll see you in the next lesson. 10. Plaid: Alright, so the last fabric we're going to talk about is plaid, stripes kingdom, all of that. It can be a really, really fun fabric to sketch out. And it definitely reminds me of academia. It reminds me of the movie Clueless. It's just kinda one of those preppy kind of feel fabrics that can be really fun and add a lot of life to your illustration. So plat, however, I don't illustrate it the same way every time. It really depends on whether or not there's a darker color underneath or There's lots of different colors. So I'm going to show two different examples and show you how I do two different kinds of plaid or at least two different patterns of Plaid. So this first one is a Phillip Lim look and it's kind of a darker a darker plaid, a darker color. And just going to start off with a dark brown. And I'm going to go over the whole swatch. You can see that underneath the face, I guess the base color is that dark brown and then you've got your stripes over top of it. So the next thing I'm gonna do, the stripes. The colors that I see in this are that dark brown and then of course the black stripes, the white stripes. And then there's a real thin red stripe. I'm going to use my dark gray and I'm going to do the black stripes just to kind of get the feel of where they are. And as you can see, I'm not using an actual black, using a dark gray. So from there I'm gonna do a couple of going this direction. The next step for this one is the white. And I like to use a white colored pencil because with plaid, It's usually there's a little bit of texture to it too. It's not a real sometimes it can be a little bit felt, feeling. So I like to use the colored pencil because it really takes the texture from the paper and shows through to your fabric. So again, it doesn't have to be exact, an exact replica of the pattern, but I'm just gonna go outline each stripe with the white, like it shows in the Cloud. And then in a second. So the next thing is kind of going back over and really showing the black because it isn't it it is gray where the gray lines aren't overlapping or aren't overlapping, but where they are overlapping, it gets a little bit darker. So from here I'm just going to do something like this. This isn't exactly the way that it looks, but again, it's about representing rather than exactly executing. It looks like so. Do something like that. And then now I'm gonna go back over with my read and do that really thin red stripe. And again, I'm using a colored pencil. That's kinda what I would do or how I would represent this plaid by Philip, Philip Lim. And you can even go back over the brown areas and do something a little bit darker like this. Sometimes plaid can go, can be difficult to change after the fact or edit after. But this one lends itself nicely to that. So here's how I would represent that one. This one here, I'm going to do a Zimmerman plaid. This was part of their 2021 collection and I absolutely love it. It's very seventies, but I absolutely love it and I'm going to start with a very light tan. So this one has a white it looks like a white base or it has white in it. So I'm certainly going to leave the swatch white and then go over it with my life. Something like that. Then where are these lines overlap? You can tell that there's a much it gets much darker in those areas. So I'm gonna go back over it with a brown that's slightly darker than this one, but just in the areas where they overlap. So this is basically how I do give them as well, whatever color the kingdom is, I'll just do all my stripes and then go back over these little square areas where the stripes overlap and it creates a really nice kingdom. So from there, I'm just going to add a couple of extra brown lines here and there. They aren't actually really on there, but because there's because there's so many white lines and other lines showing through some of the yellow lines as well. This kinda helps just convey or kind of make it look a little bit more like that plaid. From there, I'm going to get my colored pencil again and I'm going to go back through these lines on the outside, on the inside. So something like that. So as you'll notice with these plots, it's not an exact representation. But again, that's what I love about fashion illustration. You're kind of doing as much as you can without, without getting too muddy. So the things that stand out the most to you in these patterns, in these clouds, the colors that stand out the most and the shapes that stand out the most. That's what you want to represent in your clothing. So moving on to R2 looks. So this first look is actually a Burberry resort 2023 collection. And this one is a Philip plane fall winter 2021 collection. Both are kind of different plants, but I thought it would be great to demonstrate both of them. I'm going to start with the Burberry. And the Burberry is similar to this one in that it has a brown under undertone or brown. It's like kind of like stripes on top of on top of the brown. So I'm going to start by putting the brown down. But before I do the brown, there are some orange highlights that I wanted to put down. Because if you obviously if you try and put the orange over the brown, It's not going to with markers, it's not going to look exactly like that. So I'm just going to add the orange stripes first. Now I'm gonna go ahead and do the coats in brown. So then the inside of the coat is this lovely kind of pumpkin yellow color. So I'm gonna go ahead and add that. I'm going to do the black stripes. And again, I'm going to start with a really dark gray and kind of work my way darker. So this is a really large print plaid. So there's really only like 123 stripes that you see or, or Plaid areas that you see. So just keeping that in mind. Okay, so that's all I'm going to do for that. Well, even though you can't really see it, i'm I'm gonna put it in there, straight there. And just to even out the pattern, I'm going to put another stripe there. So even though that's not exactly what it looks like, it is, that's what that's how I'm going to represent it to. So next I'm gonna go back over with my white and add in the white areas. So something like that. So now I'm gonna go back over actually with my black and fill in those squares where the gray lines overlap. Then if you wanted to, you could go back over some of the white areas where the whites, the white lines intersect and use a white opaque pen to really bring out those white areas. Alright, so there's the Burberry plaid that the other thing I'm going to do to finish off this plaid portion of this outfit. I'm going to take a number one micron and I'm going to outline, actually outlined all of the stripes. So something like that. And if you wanted to, you could even go back over the gray lines with something just a little bit darker. Gray that's just a little bit darker than what we were using. Alright, and then I'm just going to finish up her outfit, which is an all black leather outfit. I forgot one thing on the burglary look, there is a red stripe going through this area, something like that. So the next look is a Philip plane look. And this one, it looks like it's kind of a black or gray stripe over a light pink fabric. And this is, it really looks like it's a very textured fabric as well. So I'm going to be using probably a lot of colored pencil. But to start, I'm just going to add all of the light. While that dries. I'm actually going to use a, a really, really light gray because as you can see where the gray lines overlap a little bit is really where you get these dark black squares. So I'm just going to use a very light gray to denote where those lines are. Okay, so something like that. And now I'm going to go back over the squares where the lines intersect. And I'm gonna do a little bit of black. I know right now it looks really different than what the pattern looks like. The next thing I'm going to do is I'm actually going to take a black colored pencil. And I'm gonna do these kind of, I'm just light lines across all of the areas where the black, the gray lines are. So I'll show you what I mean. Alright, so you can see how it's starting to come together. The one thing I will say about Plaid is that colored pencils are really your friend when it comes to Plaid. Because of that textural element that some plants have that kind of silty feel. So I'm gonna go back over some of these lines, are some of these squares and just make them a little bit more square with my darker gray. I did go ahead and do some lines with the dark gray to just to kind of help some of those lines come through a bit. So as you can see, there's also a lot of white because the background of this, of this plaid is so light. A white colored pencil isn't going to show through quite as much as I want it to. So I'm going to use my white pen. I'm gonna go do, go over it and do all of the small white lines because those are a very important part of the plot. They are very noticeable. So I'm gonna go ahead and do that. At this point, I would feel comfortable just leaving it if you wanted to. But there is some fringe, there is some other details. I'm going to use. A chrome tend to do some of the silver details that are left. And then I'm just going to finish off her, her shoes. And so those are the two fashion illustration looks that Philip plane and the Burberry. I hope that you've gained some knowledge as to how I represent plaid on fashion illustrations. And I encourage you to practice. I can't wait to see the plaid looks that you guys pick out and that you illustrate. And I can't wait to see your class projects. 11. Thank You!: Thank you so much for taking my class. I love talking about fashion and fashion illustration. So thank you so much for listening. I hope that this class has provided you with some new ways to create those fashion fabrics. And that it's been helpful. I can't wait to see what she put in the student gallery. And I hope that you have a lot of fun creating and exploring fashion.