 Hi there. I'm Sandy Olnok, and while I am not a fashion illustrator, I did realize something this week during a whole week of playing with these croaky templates that I love applying techniques I already use in my art to fabrics, and I'm going to do that today. You may remember on Monday, my previous video, I posted about my Pantone croaky sketch pad, and a croaky is a sketch. It's a French word, and it's used in the fashion industry, and they use these kind of pre-made template type sketches of the tall skinny ladies who they put their sketches on top of, and I showed you the book last time, and I'm not going to go through all of that with you, but this is the art that I created with Copic markers in the previous video inspired by a sunflower. I just made a bunch of sunflower outfits if there were such a fabric. All week long on social media, I was working on making more croaky sketches and inventing my own outfits, having a good time, checking the internet and looking for ideas on different ways that people approach fashion illustration because I know nothing about it, and it was just a lot of fun to goof around with different mediums and different styles, and this one I did not realize was going to be so popular. It was a pen and ink version that I did. I just sat and doodled lines on one of them and dots on the other two hours for the line lady, and 14 hours for the dots, but I did like how the dots turned out. I love the texture that it gave me, and then I started doing more of my normal type of doodling lines. I use a lot of line work to indicate motion, and that's a bit of what I'm going to be doing today because I wanted to show you how to draw pleats. So if you haven't subscribed yet, you may want to. There's always some fun going on here on my YouTube channel. So a tightly pleated fabric would be one where the pleats are all really close together. The hem on a piece of pleated fabric is generally going to be, if it's a really small tight plate, it's going to be a jagged line, basically. That might be all you'll see. If it's wider pleats that are further apart, then you'll have a flatter or wider type of jagged edge on them. And I will put over on my blog a graphic I found with all kinds of different edges that you can use on the edge of pleated fabric. So what I'm doing here is I'm going to pick sections and I'm looking for a section that is blowing upward. So that section I just drew a line on. That's the top of a piece of fabric that's blowing upward. And what I want to do is create lines going in the direction of where the wind is blowing. And in this case, I was lucky it stayed on camera because I apparently was not paying attention when I moved my pad. And then for each one of these other pleats, I'm going to be looking for what direction they're blowing. If I want them to look like they're blowing upward, then making those lines curl upward is going to make it look like they're blowing that direction. The one behind her is going to be not blowing up so high because it's stopped by her leg. So it's going to be a little bit simpler of a line. It's not going to have that kind of flowing motion. But one of the things that I had fun with in this particular drawing was realizing that the kinds of lines I love to make when I'm doodling are the kinds of lines that pleated fabric would make because I love lines that are next to each other, but they're curving and they're creating some kind of motion in the drawing itself. And that applies perfectly for this because with pleats, you'll see all of those fold lines going up the fabric. And every time the fabric moves, the direction of the lines will move. Now, here I want to create some separation between the section I'm drawing right now, which will be a little bit flatter next to the section to the right of it, which is going to be blowing upward as the wind is catching it, because that's the piece that I wanted to lift up. So I'm going to create a difference in direction of the lines on that left hand side so that you're going to be able to visually tell the difference because once I get all these lines in place and I'm not varying the amount of space in between them all that much in too many places, just in a few when the lines get tighter together and they they join in a smaller area, they'll end up making almost a shadow because they're they're getting tighter. There's less white space in between them. But then as I start moving out toward the other sections, I can just change the direction of the lines and create something that feels like all of these lines are moving in different directions. So the fabric is cascading. It's blowing in the wind and rippling. And this gives it that look into create something like this. You don't have to understand a whole lot about the motion. I would recommend maybe googling for a dress blowing in the wind so you can see a picture of how that happens, how that flow goes. You could also do this in other mediums and create pencil lines that go down the dress and that kind of thing. Now, a more loosely pleated fabric is going to have more space in between the lines and I also wanted to just have a difference between the two of these ladies because they're both in the same picture and I didn't want it to look like they were wearing an identical dress necessarily. And this lady, I wanted to have something like the back of her dress in a different cascading in a different way. Like it's coming down like a trail, almost like a wedding dress, but it's not a wedding dress. So the bottom section on the left, which is the front of her dress is going to have all pleated fabric, but I'm doing looser pleats by making the lines a little further apart and just creating sections the same way as I did on the other one so that I could have some difference in the direction that some of those pleats will move. But it's not as dramatic as the other one because I'm trying to keep that being a little calmer so that as I transition to that trail of fabric in the back of her dress, I don't end up with something that's too jarring between them, but I needed to have a transition and that wiggly line that's going down the dress right now, I was just trying to kind of work out in my brain what that might actually look like in real fabric. Now, one of the things I have definitely realized during this week of drawing all these beautiful fashion illustrations is that I'm really glad I'm not a fashion designer because I almost would hate to see some of these things in real life. I don't even want to know how they translate in fabric. I was, of course, on Google and Google always shows you things that were in your head previously, and I found the ugliest, ugliest yellow dress that looked kind of like it could have been one of my drawings from my last video, but it was hideous. It was absolutely gross. If anyone should see any of my fashion art, I've collected more of it around my blog and you decide you want to make it these things into outfits, then please only show them to me if they're beautiful. I'm going to post a picture of the ugly yellow dress on my blog so you can see it if you want to. It's pretty gross, but yeah, only show me if it looks good. All right, I will see you guys later. Hit the like button if you could before you go and subscribe if you haven't. And I will see you guys again next time. Take care and have a great day.