Sketchbook Club: Fashion Inspired Illustration

1. Class Introduction: Welcome to Sketch Book Club Fashion Inspired Illustration. I'm Liz Trapp, and I'll be your teacher today. This class is for you if you love fashion and clothing. If you're looking for a fun way to spice up your characters, maybe you're an illustrator, or if you just love the freshness of fashion Illustration. In this class, we'll use fashion as the basis for inspiration through a series of fun and quick sketchbook exercises. We'll start with some basics on how to quickly depict the human figure without overthinking it. This is a very simplified human figure. We're not jumping into a figure drawing class here, but rather our focus is on the clothing. After we get the basics of a simplified human figure, then we'll jump into some material techniques, thinking about how we can depict different fabric patterns with a variety of wet and dry materials. I'll be using color pencils, markers, pens, gouache paint, and ink, although you can truly use whatever you have on hand today. Then we'll wrap up with two fashion inspired illustrations in our Sketchbook. We'll use dry material for one, and the other one will use wet material like Ink and gouache paint. This class is part of a series that I started called Sketch Book Club, which is an extension of what I teach in my college classes, helping students like you explore art making, take creative risks, and just experience the pure joy associated with keeping a Sketchbook. Let's get started. 2. Project description: For this class, you'll be doing several exercises in your sketchbook. The first one is a figure drawing warm up, followed by a pattern play warm up. Then you'll do a sketchbook spread of two fashion figures using dry materials and a sketchbook spread of two fashion figures using wet materials. Here is what the figure drawing warm up looks like. For it, we use a couple reference images that I've added to the class resources, both a diagrammatic one, giving you a sense for proportion and another one with source images. This is an example of the second warm up page. This is texture play, fun with pattern. In this page, you'll just be exploring really simple different patterns, including stripes, a couple different ways of exploring florals and such. Then you have your fashion spread number one, dry materials. And this one, we create two figures using a series of dry materials like pencil and Marker. And your second fashion spread is two figures using wet materials. For this, I used Ink and go, and you can use anything. Go ahead and upload one or both of your fashion spreads to the project gallery for this class. And if you want to share your warm ups, you're welcome to upload those as well. I cannot wait to see your projects. 3. Fashion materials: Materials for this class are really simple. Ultimately, I encourage you to use an assortment of materials that you already have around. We'll be using a sketchbook and an assortment of dry and wet materials. Use the closest thing that you have. If you don't have a sketchbook, just use some heavy paper. If you don't have heavy paper, use computer paper. Use whatever you have. The idea is just to explore and have fun. I'm going to share with you the materials that I'm using for this class. First, I'll use my sketchbook. I use the Talents art creation sketchbooks. They're fantastic, the papers heavy enough to hold wet material like uh or ink. And it's just slightly off white color, which I think is really nice. They're also very inexpensive compared to sketchbooks. I'll be using black ink called Quin. This is a fantastic ink. It has this sort of blue undertone. I also will be, I think it's a number six round brush with it, but just not a tiny brush. I'm also going to use Acryla Gach. This is whole bine Acryla Gach. I have three colors, a lavender, a pale lilac, and a yellow ochre for the sake of these illustrations. Then I have a couple drawing materials. I do like to use a pentel brush pen. It's a black pen. I don't use it in this video, but I use it a lot with illustrations, a regular pencil and a pains gray corn dash color pencil, which I use a lot. I also have a little assortment of colored pencils that I love to use. Again, I stick with a limited color palette. These are a couple prisma color and corn dash colored pencils. The Tambo markers. These are Tampod brush pens. These are my go to markers. I use them for just about all of my sketchbook work. That's all you'll need for this class. Again, if you don't have one of those materials, just get whatever you have that's closest to it. All right, I'll see you in there. 4. Simplify the human figure: Okay, in this section, we are going to learn to simplify the human figure. You'll just need a sketchbook and a pencil or pen, whatever dry material you want to use. First, I have some worksheets to help you out. They are available in the classes additional resources. There you can find this page, which lays out the proportions of the human figure. I want to show you some examples that I've done recently of the human figure in fashion illustration. And you can see here that I really like to use a small head in proportion to a larger body. And this emphasize the slight disproportion that you'll find in fashion illustration. Here are a couple more examples of recent illustrations. I want to show you, nothing's perfect, but the whole idea with fashion illustration is that you just kind of get the sense for it or you get the essence of the garment or the figure or whatever the most sort of important part of the illustration is. So just some things to keep in mind when you're looking at portion and body proportion here. So In this handout that I made on the right hand side, I have the proportion of the human figure as is standard to figure drawing. It's one head which you draw as an oval first. It becomes your measurement. And the human body is typically 7-8 heads. You draw your head first as an oval and use that as the basis for measurement for the rest of the body. Typically, the human figure will be around 7.5 heads to the body, and this is an adult figure. So the fashion figure is slightly different. This is the fashion figure in so far as fashion illustration traditionally. For that, the figure is elongated to nine heads or 9.5 heads, even in some cases long. And all of that additional length typically comes in the legs. You'll have the emphasis on the lower part of the body eelongting the figure in fashion illustration. This is going to be simply a guideline for us. I made these resources just to help you understand the disproportion of the figure in fashion illustration. Also, if you don't want to tackle the figure, no worries. You can print off this template, trace it and use it as the basis for today's work in fashion illustration. Also made you a template of typical facial features that are very simple. These are very much informed by illustration. There is no emphasis on the portrait in today's class. So these are fun, simple illustrations anyone can do. These are a good jumping off point, but if you have something that you would rather do for eyes lips or nose, go for it. Do it your own way, too. Then the final guideline I've made you is a step by step of a simplified portrait. First, you'll start with an oval. Remember that head is the basis for your measurement in figure drawing. Midway through the oval, you'll put your nose and ears, which will be all lined up together. Then above that, your simplified eyes, don't forget the eyebrow if you want more expressive portrait. Then under that, you'll go ahead and place the lips under the nose, all lined up together. Then you'll add the hair. Something to remember is that the hair line cuts into the head. When you draw the oval of the head, that's expecting that the top of the oval is the very tippy top of the head. Even if someone has very short hair like a buzz cut or something, The hair still will come in on the oval a little bit. The only exception is if you are portraying someone with no hair, then the hair line obviously won't encroach on the oval. Then I like to add in some fun little details. I love to have a blush of the cheeks, maybe a scarf, earrings, some jewelry, something to dress up the portrait a little bit. Finally, I've given you some historical images to use today. We'll use them in our figure drawing exercises, and then I'm going to jump over to my Pinterest board for some fashion inspiration. You are welcome to use these images. You are also welcome to search things on Pinterest to help you explore fashion and fashion illustration more. So I'm going to show you a quick scroll of what my Pinterest looks like. I love to search terms like maximalist fashion. Um, 1960s fashion, pattern mixing, things like that to kind of get some of these images. So we are going to do a couple warm ups today as far as figure drawing and sketching goes. We're going to do three figure drawings of 2 minutes each. I am going to do these top two figures here as my drawing. I have my pencil, I have my sketchbook. I'm going to do the figure over on the left first as my first figure today. I'm going to go ahead and set my timer for about 2 minutes, and then I am going to go. Okay, go. I'm starting off with the oval for the head. I've got a basic neck, and I'm trying to follow the body and emphasize some of the movement of the body. But I know sometimes in my early drawings, it can be quite blocky, which is why I really try to limit the time on them so that I hopefully get a more fluid figure. I'm not going to necessarily draw the garment, but I've added in like a little boat neck there just to help give emphasis to me and to help me kind of understand how the figure is moving. I've added in her waistline to help me understand where her hips are going to be, they're going to fall right below that waist. And now I'm trying to kind of get a sense for the curve of her leg. It's easy to get lost in the figure. Don't worry about it. Just draw lines over it. It's never going to be perfect in a two minute figure drawing. We're just about halfway there. I've not left room for her feet. You'll see today that's typical for me. I like, really take up space with the figure. And I'm just kind of following the line of her arm, simplifying where her hand is falling and how it's falling. And just drawing, like, really simple thumb, and then just the kind of direction her fingers are going on the other side here. I don't have much time left. And so I'm just going to go ahead with the last few seconds that I do have. This ends up being about 2 minutes and 20 seconds. And I'm going to do her hair really fast, just try to block it in and a little bit of her portrait. And we'll see where we are. Okay. Time's up. So I've got just a really basic look at this figure. I think I did kind of get the emphasis on how she's standing. That's what you want to look for. Not did I get every detail perfect, but did I get kind of a sense for the figure. So now I'm going to do my second two minute drawing, and I'm going to do that figure on the right hand side. And this one, I am going to draw her garment, and I'm going to aim for a fluid approach. 2 minutes on the clock, go. I don't know why, but it ends up being about 2 minutes and 20 seconds. If you're stickler for time, this is slightly over 2 minutes. This photographer, I think, was up a little. And so we have a bit of a bird's eye view on this figure, which can be a real challenge to draw. And I've kind of run into that right off the bat. Again, I started with the oval of her portrait. I'm going down to her shoulder line. And then now I'm really going to challenge myself to capture that fluidity of her garment and the way her arms sort of fall. And I know, because I've sort of planned out what drawings I'm going to do later. I know that this fluidity is important to me, because in one of my final drawings, I'm going to try to capture the fluidity of a garment that's similar to this. So this is a great warm up. It's really nice when you're doing figure drawing warm ups to kind of overlap them with one another. I've done that here. Does get a little confusing. Whose hand am I drawing? Now, I'm moving back up the body, and I'm going to block in the garment because I have almost no definition in her waist or her legs. So I'm just going to kind of focus on the garment and how that beautiful flowy dress falls. If you don't get something right the first time, just go over it with a heavier line. Like, that's with this quick figure drawing, that's kind of a beautiful way to address that. I've done that over on the side. Creates a nice line emphasis. And we're just wrapping up. I'm in the last few seconds here, so I'm going to do her hair. It's a little hard to see in the photo because it's dark hair and a dark background, but I think it's stacked up a bit, and so that's how I'm drawing it. And time is just about up now. Yes. And pencils down. So here, I've got my two figure drawings, and definitely starting to warm up my hand. I hope you are to feel free to do as many of these as you want to. I've included lots of different photos to give you some flexibility with the body and the portrait. So for us, we have one more left. I said we were going to do three drawings that were about 2 minutes each. Let's do the third one focusing on the portrait and a simplified portrait, of course. So I'm going to do the figure that you see on the lower right hand side. She's kind of looking down and off to the side. A little bit of a tricky look there. But here we are 2 minutes on the clock. Go. I'm going to start with her hair line actually and her part, which is really prominent and part of that's the angle of the photo and the angle of her head. But sometimes it's easiest to start out with the most prominent part. I drew her part, the part of her hair, and now I'm focusing on her nose. I drew a little bit of the oval around her chin. And again, we're looking at something simplified, not great detail, not super realistic, but rather just a simplified look at the. I'm drawing her eyebrows now. I don't typically do that before the eyes, but again, because of that slightly downcast angle, the eyebrows are of greater emphasis. And now I'm drawing just a really simple eye. I'm going to lose my time showing you which one, but that's the one. I'm es more or less drawing. He's got a side eye going on there. That's part of why I picked it. I thought it was a fun portrait from the 1960s. I'm a fashion historian and often search for decade, you know, the fashion and decades. And I think the 1960s is such a fun time. And so I think all of these photos came from a 1960s fashion search, but it's great drawing material as far as fashion and photography goes. So I'm using the last bit of time here to block in her hair. Of course, I haven't saved any time for her body. I did not use my time super well, but that's okay. We have a sense for simplified portrait. I have a sense for the hair, and I'm just going to throw some shoulders on and kind of get an idea for her outfit here. And that's it. Tim's up just like not on the clock. I'm going to add some hot pink cheeks there. I love that detail. So this is a great warm up, focusing on the portrait, focusing on simplified figures to get you ready for the rest of this class. And remember, it doesn't have to be perfect, and it's in fact more beautiful if it isn't. 5. Texture Play fun with pattern: Okay, this is a fun little lesson just to get you going and super flexible in your sketchbook. But it's called texture play, Fun with Pattern. Basically use anything you've got on hand. For this, I'm going to get out a little g, a little marker, some pencil, and just kind of go for it. I don't have tons of color options out. I've got two colors of goch. I know because I did this all ahead of time that I'm going to use those two colors for my final illustration, so it's just kind of nice to have them out. So for this, first, I want to show you just one kind of technique that I use a lot. It's great, no matter what your subject is that you're depicting. I love to utilize gouache and colored pencil together. So and other materials. You can explore kind of anything. But gouache is such a beautiful base. But sometimes if you use it, think about what the possibilities are with it, and where you can go with it, what sort of texture, color combinations you can do. So I just made two goch blobs. This is true with acrylic paint or water color, also, kind of whatever you have. Think about how it mixes with other materials. I'm going to let those gouache blobs dry. That's why I did them first. And I'm going to draw six squares. As you can see, they're perfect. They're perfect. I'm just kidding. They're so wonky on my sketchbook. Go ahead and do the same because in each square, you will explore different patterns and think about different ways of depicting things that you see on clothing. So I'm going to start with a marker and go ahead and do this one also. I'm just going to do horizontal strikes. Pretty simple, easy way to start, but a lot of fun. As you go, you can explore how different colors of stripes work together. Maybe layering a little bit of marker two. I kind of let the gouache dry. It's kind of wet, too. I don't recommend working with wet guash, but I thought, you know, I wonder what horizontal stripes with marker looks like guash. And so you can see how the effect is just offers a really nice sort of subtle contrast. Here I'm going to work on a little bit more of a gingham pattern. I'm using two different tones of blue, one's more purply and one's more like light aqua and just layering horizontal and vertical stripes on each other. Okay, one of the most actually probably the number one pattern that you'll find in fabric. If you're a fabric designer, you surely know about this is florals. Floral pattern is so popular, especially in garments. So here I am doing a floral one way, and that is the space of the flower blank and coloring the fabric around the flower. And this is something I use a lot in fashion, inspired illustration, because being able to block in around the flower helps me define the garment more. It allows me to have a more confident outline with it. So that's something good to practice to do that. I just drew an outline of really loose flowers. And then I'm just blocking in the space in between them in the same color marker. From here, you can take it any direction that you want. Okay. In the next box, I'm using my felt tip pen. This is just a black felt tip pen. I think it's a pentel sign marker, and I'm doing really loose floral outline. And this is because sometimes a very, very dense floral is something that you'll see in a lot of garments, and so it's good to be able to depict it without drawing every single detail of it. The key with fashion, inspired illustration is just getting the essence of it. What's the essence of the garment? What are the most important defining features? And if it's a loose floral, it's something that's busy, it's dense, it's organic, but you don't necessarily need to see every detail. So it's very good to practice that. I've got a couple of different flowers. In here, some little buds or dots that I'm drawing, some really loose leaves, and just kind of going with the flow to fill that box up. It's good to do these little boxes because it's a challenge. It makes you try something different ways, and it kind of warms up your hand. There's no pressure because there's no right answer to what your pattern is going to look like. But it just gives you some ideas. It's good for idea generation. And here in this other guash blob. I bet I kept you on the edge of your seat wondering what I was going to do with that. The answer is draw pocaots on it. I just used a colored pencil to draw pokaots on there just to see what that effect would look like. I really like it. I love that effect. I got inspired, and I grabbed some yellow pencil and some gray pencil to go in and emphasize some of the color inside my flowers a little bit. This type of pattern is really popular right now. A floral or anything kind of similar with a loose and offset outline. Got to get some hot pink in there somehow. Or I really love working on that little square. So after you've practiced something kind of geometric, like a plate or a gingham or stripe or something similar. And some florals, something organic. In the last two boxes, I want you to just see what you come up with, just do whatever feels right. So in one box, I just put in a field of like kind of brown marker, and then the other box, I'm just painting some gah down. I'm going to let it dry for a second. Hopefully, it'll get dry. And then I'm going to go in. I love this combination of like a brown or like a copper with color with big black poka dots on it. So I'm just exploring that a little bit in this box. I love to have these because I flip back through my sketchbooks and I'll see something I thought of in a little box earlier that I didn't use then, but that I need now, and it will strike a little inspiration. You can also think about little shapes or icons that maybe you've seen or you thought of. Um, that's what I did there with that little sun. I found it in a garment when I was looking at fashion garments, and I it stuck with me. In this last box, I'm going to do a little bit of a leopard print with just a darker purple colored pencil on top of that dark or light purple gah. If you happen to be a fabric designer, you're interested in pattern design, sometimes this is a great way to go about planning things out. Thinking about it in terms of illustration instead of in terms of pattern design. Sometimes can lead to a creative outcome, especially if you need help getting out of a block. But that is it for our texture play, drawing clothing with fun effects, and hopefully it has warmed you up and you are ready to jump into some fashion illustration. Let's do it. 6. Fashion Spread #1 Dry Materials: For your first fashion spread, we are going to focus on using dry materials. Materials needed for this our sketchbook. I'm going to use a black pen. You can also use a black marker and just an assortment of dry materials. I've got some markers and pencils to use here. So I'm going to go ahead and start by sketching out my figure, using a gray pencil like I did before. I've put a screenshot of my figure of inspiration from Pinterest over on the left hand side of the screen just for a minute. So you can see who I'm using as my inspiration. And just like with those early fashion sketches, I'm thinking about the contours of the body. I'm thinking about the garments. I'm thinking about simplifying the body and not worrying about perfection, but rather thinking about emphasis of the garment and emphasis of some of the defining features of this figure.'ve taken that screenshot away, but I'm going to keep using it as my source of inspiration. Right now I'm working on blocking in her hair. And then I'm going to go through and pull out some more details from the body and from the garments, adding in glasses. And now I'm going to jump to a little color starting with her lips. Next, I'm going to go in and add some defining lines to the garments themselves, her long shirt. Think about her hand, her purse that she's holding. I've got her leg a little mixed up, but don't worry about that. I've tested out a little color there, and I'm using my red Tambo marker pen to go in and start working on those statement pants. I love those pants. They're a big, bright graphic floral, which is a pattern that really does well in fashion illustrations. So I recommend looking for something like that. I'm going to go ahead and block in her pants here. Now, I've switched to blue to add for the background of her pants. Again, I'm using a Tempo, and just really working on accent that color combination there. Markers are such a great tool to use for fashion illustration or fashion inspired illustration because it's easy to get really bright bold color from them. They're quick, easy to use. I highly recommend using a nice bright marker or set of markers for this project. In addition, I use the Panes gray colored pencil. You can also use a pen. I have a black felt tip pen. I use a lot in this kind of illustration. I also recommend using a sharpie marker as well. Anything you can do to kind of get a nice bold line. I'm switching to color pencils for her shirt. Not quite following exactly how her shirt was designed. But the idea here is that you're using those images as inspiration and as a jumping off point. And then you'll use your creative judgment for the rest. I've switched the red lines on her shirt to hot pink. It's the loudest pink I could find, and I'm just going to go ahead and add in kind of a neutral grayish background to set the figure off from the rest of the page in my sketch book. And I add a little blush to her cheeks. I love to do that. Okay, so we finished one figure, but this is a spread, which means I like to use both pages of the sketchbook. I think that it is really beneficial to do that. And for this one, I'm going to kind of go off the rails a little bit, and I'll show you what I mean. So I'm going to create a pose based on that reference image you see in the frame. It's one of the historic references I gave you, I supplied you with in those additional resources for the class. It is a tricky pose, but I have been really excited to draw it and really wanted to tackle it in here. Do I do it perfectly? No way. But I just jump into it, and I think that that's a lot of the fun, getting the essence of the figure in the pose. That is what is going to carry you through to create a memorable illustration. So what I'm doing here is I'm blocking in this figure. I'm not adding garments yet because I'm not going to put her dress on that she has in the picture, but rather I'm going to use another outfit as inspiration for this. So again, I'm just trying to kind of get her in the page. I've made her head really small, her body pretty big. I like that scale. I think it creates a nice emphasis there. And I'm just going in and I'm adding just a couple little really kind of blurry details in her face with this gray pencil that I have. So hair. All right, now I'm ready to add her garments, and I've jumped into my markers just like last time. That's where I'm starting. And I'm going to put this overcoat on her. And so I'm going to show you the picture on the left hand side that I'm using as inspiration. And it is that woman in that really beautiful floral kind of trench coat. And I'm using that as the basis for her garments here. So this is a little different because I drew the figure first. I can't really cover up the lines that I drew. So they're just going to be there, and they're going to be existing under the garments, and that is okay. So I've blocked in her jacket here. I'm going to go ahead and block in the other kind of major garments. So I'm doing those mustard yellow pants. I think that that color combination that she has on there, that emerald green and mustard yellow is really inspirational. And probably the reason why I kept this image to begin with. Now I'm going to go in and block in her shirt or sweater that she's got on that emerald kind of green. Nothing fancy here, just basic blocking in with this Tambo. Now what I'm going to do is I'm going to take a little bit darker blue marker. And like we did in those texture studies, I'm just going to do a loose floral line drawing. I thought with this garment, it would be a little bit easier to get the effect of this loose floral in a monochrome color palette, meaning I'm just sticking with blues. I know that that's not being honest to her. Coat or her jacket. But I think that's a nice way to get that effect. So I'm just doing this kind of loose floral line work, making it really dense, so there's not a lot of down space within the jacket itself. And I'm just going to go through and kind of fill in everywhere where I blocked in with that aqua color. I'm going to go ahead and add that floral print to it. As I work my way down this trench coat, I see that the lines underneath, like her leg line isn't quite as distracting as I thought it would be because that floral line work is really kind of taking away the attention. So I'm glad it worked out that way. That is one thing to think about if you pick a pose from one place and a garment from another place. I was thinking about how you're going to kind of manage the two as far as linework goes. Here, I'm using a colored pencil to go in and create kind of the inside of that coat, just to wrap up the image a little bit. And I'm going to use a pencil to mimic that line work I did on the exterior of the coat just so it is clear that that is in fact the coat continuing and that we're just looking on the inverse side of it. Then I'm using this blue marker just to define these lines a little bit more. Sometimes I like to make a garment without defined lines and just using the pattern to do so. But here, it's busy enough that it really needed an extra bit of linework. 7. Fashion Spread #2 Wet Materials: All right. I'm here with Fashion Spread number two wet materials. To be honest, this is one of my favorite things to do. We're going to use our sketchbook. I've got black ink here. I use Quink. It's kind of a fun one. No particular reason. I just like that one a lot, and then some goch paint and a really limited color palette. So I've got three colors of goch that I'm going to use here. So for this, just like with the dry materials, we're going to do two figures to create a full spread, one on each page. And I'm going to do this in a little bit different order. I'm going to do the ink outline for each figure. Then I'll go in with the gouache. And part of that has to do with drying time. I want to make sure my ink is dry before I get in there with gouache. So I'm going to start on the left hand side of my page. I've got a figure picked out, and I'll show you the picture I'm using as inspiration in just a minute here. I'm starting at the top with her hair. Something I love about using ink is that it is not precise. I have a fairly big brush there, and it is not letting me be really detailed. And that's something that I love about Ink. It also helps you create a really beautiful fluid line. There's the picture on the left hand side. Again, it's from my fashion Pinterest board. I'm using it as inspiration. I love to relax pose. I think the horizontal and vertical stripes are great for this kind of project. So that's why I picked it. And as I move down the figure, I'll be able to enjoy the fluidity of line a little bit more with the ink. It also helps you be really less precise. So if you've been going through this class and you find that your figures are blocky, you're having trouble creating movement. These are super common challenges in figure drawing. Everybody faces them. A way to get through that and kind of get your hand trained through that is to use something like ink, something more fluid that's in order to create a blocky figure, you would have to really work against the material. So just let it kind of take you along. If you don't happen to have black ink on hand, you can use a dark color of water color, or you can use a dark color of gouache paint and just mix it with some water, so it's a little bit more fluid and less sort of thick and painty. So you can absolutely do it no matter what you have on hand. I'm just going through her figure here and I'm realizing as I'm doing it that although she has a nice relaxed pose, it's a little bit static, but that's okay. I'm going to work with it for this illustration. It's really simple in terms of line work. There's not much detail there. I think I'm pretty much even done with this figure more or less as far as the outline goes. I don't do any details in the garment with the ink. In fact, sometimes I don't even outline that part of the figure like where their shirt is, if I really want to emphasize a print. But it does help anchor you a little bit more. So for this class, I wanted to make sure I kind of always had an outline so that you could see it. But if you are interested in experimenting, one thing I would suggest doing is taking away the outline of the garment and just relying on pattern. To give you and the viewer that information of what the garment actually looks like. It's a fun challenge. So I'm all set with that particular figure. I'm going to switch over to my second figure using the same process. I'm going to go ahead and use that ink again. My second figure that I picked is a little more fluid. In part, she's wearing a flowy dress, so that emphasizes the point there. But it is kind of a nice way to also break up that blockiness. So just like with the other figure, I'm starting with her hair in part because that is the densest part of the ink. That's where the most dark color is going to be in this illustration. I'm doing such basic face show. Features they end up being merely dots. But I actually think that this illustration turns out really nice because of that. Sometimes you have to think about simplicity versus complexity and not making the whole image the same level, having complexity in one part of the image and simplicity in another. Here, her portrait is very simple. Her garment is more complex. My figure has these enormous sleeves. And which I really love. I mentioned earlier in the class I a fashion historian. We talk about sleeves a lot in fashion history, how they've evolved through the decades and how they've settled in contemporary times. I love a good sleeve. Here, I'm just allowing the paintbrush to do the work of that fluid dress, and I love how it turned out. I just sort of add these little feet on. I think this is the first figure in the class. I've had room to put any feet on, and that's okay. That's normal. She's got her hands behind her back. Thank goodness. Don't have to draw any fingers there. Of course, it's no problem. It just makes things a little easier sometimes to not have to worry about that. So I'm pretty much done with the ink part. I am going to take a breather and let it dry completely. It's going to take about 40 minutes or so. But now because of the magic of video, I've come back. My ink is dry. And I've got three colors of gouache that kind of have to do with my images. So I'm going in to that first illustration with all the stripes, and I'm just blocking in super basic horizontal stripes for her shirt. I'm going to clean my brush and grab the yellow ocher color for her vertical stripes on her pants. And that's going to kind of wrap up that illustration. It doesn't always have to be complex to be beautiful. I think that the simplicity of that outfit is really, I just think it's a really nice subject for illustration. I'm going to grab this beautiful pale lavender and use it just to block in the dress on the right hand side. For her, I know I'm going to do my details and colored pencil. So I'm going to block in this gouache. And then I'll that one, I'm going to let dry for a little longer. The guache gets a little thick, and it just requires a bit more drying time. So About an hour or two to fully dry for a fairly thick sheet of gouache like I've got there. But here, it's dry, and back. And I'm going to go in and add those stripes from the photo with a neon pink color pencil. And I think it creates just a really lovely effect. This is my favorite illustration from this series of exercises. But I think it's really important how you get there. Doing the figure drawings, the texture studies, playing with pattern, doing dry figures, then doing wet figures. I'm just adding in a little background here again with a gray marker. But all of it adds up. It's just like warming up to run a race or something. It helps to not jump into the final thing right away. And I think that's how you can make some of the freshest and most exciting work that you've got, and it's an important part of sketch booking. So I hope you've had fun, and this is the final exercise for this class. 8. Thank you!: Hi, everyone, thanks for joining me in this class, Sketchbook Club, Fashion Inspired Illustration. I hope that you enjoyed exploring the human figure and simplifying it, thinking about pattern and color and texture and materials. Then thinking about all of these things together in our fashion inspired Illustration sketchbook exercises. I cannot wait to see what you've made. Your work inspires me so much, and I know it inspires the other students. So please feel free to upload a project or any of your work from this class to the project gallery for the course, and I really look forward to seeing them. If you liked this class, feel free to leave a review, I love to hear your comments about the class, and also look forward to reading those. Thank you so much for joining me, and I hope to see you in a future class. Bye.