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Drawing: Add Texture, Patterns, and Details

Lesson 16 from: Fashion Design: Start to Finish

Jay Calderin

Drawing: Add Texture, Patterns, and Details

Lesson 16 from: Fashion Design: Start to Finish

Jay Calderin

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Lesson Info

16. Drawing: Add Texture, Patterns, and Details


Class Trailer

Fashion Design Inspiration: Where to Begin


Intro to Fashion Design Inspiration: Where to Begin


Why Create a Moodboard?


Student Mood Boards


Fashion Inspiration Resources


Learn from the Masters of Fashion


Explore New Fashion Frontiers


Why Narrow Your Focus?


Find a Fashion Specialty


Craft a Collection


Learn to Edit


Making Fashion: Draw, Draft and Sew


Intro to Making Fashion: Draw, Draft and Sew


Why Start with a Sketch?


Drawing: Draw Your Muse


Drawing: Sketch a Figure and Define a Silhouette


Drawing: Render Color


Drawing: Add Texture, Patterns, and Details


Pattern Draping: Working with Muslin


Pattern Draping: Drape a Basic Form


Pattern Draping: Drape Folds


Pattern Draping: Experiment with Style Lines


Pattern Flat: Create and True a Pattern


Draping and Patterning Recap


Constructing Clothes: Put it Together


Constructing Clothes: Make it Special and Finish Well


Fashion Marketing and Branding


Intro to Fashion Marketing and Branding


Explore Your Audience


Display, Data and Design


Share Your Work


Find Your Following


Inform Your Brand


Build Your Business Model


Why Tell Your Fashion Story?


Establish Relationships


Be Ready for Change


Produce a Fashion Show


Intro to Produce a Fashion Show


The Fashion Show: Why? When? How?


Pre-Show: Develop a Fashion Show Concept


Pre-Show: Build a Team


Pre-Show: Create a Timeline and Checklist


Day of Show: Backstage Strategy


Show: Working with Front of House


Show: Scheduling Run of Show


Show: Breaking Down the Event


Post-Show: Increasing Your Audience


Post-Show: PR for Fashion Shows


Post-Show: Dealing with Downtime


Fashion Design: Start to Finish - Wrap Up


Lesson Info

Drawing: Add Texture, Patterns, and Details

Once we've got basic color we're going to just reemphasize certain things and here is where you can have a lot of control goes with mark sorry just emphasize controlling my pencil broke um you could emphasize details with color a pencil and you can get a sense of deb and all those chunks of hair that you designed and you can also go back and reshaped her fit face a little bit if you draw drew really lightly and go in and emphasize the cosmetic part even the tip of the nose and uh and also at this point we can start thinking about adding texture and patterns and details okay, we talked a little bit about texture with the metallics but um for texture probably one of the easiest things you can do is roughing up the surface right? Because for the read this looks very flat you know it looks like a very smooth fabric but if we wanted to get sort of a more velvety feel we would go richer with the pencil on top of the color and I used the pencil on its side and I create these little ovals beca...

use I'm constantly blending and I don't want any lines so that can written make color look very rich and rough um but I can do just the same thing except using the harder you know the harder point and think about putting a pattern when I do these demos the outfits looking very crazy for mixing all the different things come up with some doozies over the years but doing sort of red on red for a pattern introducing maybe actually let's try the gold you can start to follow that pattern use the shape of the pencil so you can start to build on the page all the detail that you want and then the final details in terms of um we emphasizing the shade on where's may you can do like if I wanted to do a big pleat I could accentuate with pencil or if you wanted to see some sort of detail but it's all monochromatic you can use the pencil to do those finishing details she's a little bit of a hodgepodge right now but I think we get the point right now okay if you could pull up pull up that last slide you were talking about patterns and textures and details and right just talk a little bit more about how important those are in terms of getting a little taste of that onto the sketch before you take your next steps so you mean just getting those textures and patterns and details like you were showing us okay just the important stuff all right, so um all this work swatches because when we're doing texture and color another thing you want to do is watch out what you're going to do. So do you use one color as an example you want, um, for instance, um uh, if you wanted to do, we talked. We saw earlier that sort of tweety color, right? So you can do cross hatching? We did the texturizing, but you can do cross hatching, which are basically little broken lines and then the other way. So you're creating this grid, but it's not quite finished, and then you have sort of a more, uh, so, uh, looser rougher we've and if you wanted to add those little specks, you can add little pops of dots and that's if we want to keep it all the same color. But if you wanted to introduce another color into it, like the tweet had, you can accentuate with a couple of lines and a couple of other pops, so, um or it could be a print that you define color on color, and I wish you could mix color as well, but all working with the same swatch and we can just text arise. For instance, it was like a cut velvet shape there's a lot of people feel when it comes to pattern and color, you have to do a lot of mixing and you can. But you could do so much with just one color way, so this kind of gives you a taste of the most basic way to approach it but I think what I'd really like to emphasize the most is to have fun with it and break it down into the shapes and the pieces and also test because this for instance you know the sketch we created there would be maybe ten or twelve versions before we get one toe one that were actually happy with you know so we want to think you know why change your hair color do I render it better do I pull something out that I had something all those kinds of things and it orations are something that a lot of people are scared of doing because they feel like they should be able to get it on the first try and the best things come from from that process of repeating the whole thing a beautiful theme j on dh way to wrap up this lesson which was absolutely awesome and feed back on conversations in here are great way have surely who has actually taken a class with you and passed and she was so excited to see that you were coming here on great alive so thanks for joining us surely but what I really loved about that in that one lesson that you were able to take us from how to draw a face to the body and proportions and different ways of thinking about the proportions and then start layering the clothes on top of that the silhouette and then the shapes and the patterns in the textures it was just like this freedom of ok if I focus on these building blocks I can do this and that genuinely is like you're genuinely showing us all of these years of experience and making a lot more simple all right, ladies, they're still working there, soldier I just it's so cool how we all talk about it I'm afraid to do this but just inviting yourself to another part of that is kind of like I showed with my student sketch that look kind of alien ish you know the whole idea that you can modify this when I draw thiss this is one version of hydro very sort of flat and very much almost like a technical drawing but but then I can also kind of go much more exaggerated and just depending on what it needs you know and what what style you like so it could be all this could be expanded contracted and you can play with it however you need it to work for you and play and it should be fun. Yes, yes, we'll have to check in and if our studio audience doesn't mind kind of showing where you are and what you've been well you've been working on that would be awesome oh no I just I saw you pause margo paws and you're just focused on listening, which is great as well but does anyone want to share kenzi just hold it up so we can see where you doing coburn over there with oh right yeah okay um I was more kind of focus on I can kind of see the lines through this one I think I'd sketch the original body a little too light so tracing was a little harder than I think it should have been I think my difficulty was definitely in like reflecting the face like the eyes so what you're saying about not making the pupils like outside so I did that but yeah, I don't know it was fun kind of messing with the marker and seeing that even within like the same shade you could kind of make a a texture like you're just showing it made it look, I felt like a little more like taffeta or like you could see like the folds in the fabric which is cool because that was kind of accidental at first but it worked so I'm not like anyone else patty call I'm gonna call you out show us where you are and then if somebody can hold the mic for you uh well so I did a face my face oh great that's one how was that based upon what perfect experience first it that had looked very tall venison is brought him here I made that so I you know you can't sketch without thinking of a design so I did a little design but I sort of left out her legs but I'll work on that car usually what? What? We go over here um is usually a semester so so but but I think we hit on the most important part which are those foundation you know strategy is huge I'm a mess my god, these are really fun. I was just messing around, okay? I can actually job person those crazy I've never jumped under known that before. I kind of do person excellent face they mean, I think when you have that face they become a little bit more real. Yeah, it's it was so much more fun to, like draw out an idea now that I can actually draw a person but it was so fun and it's also your person and for people who I mean I always encourage you to create your own croak e which is that figure underneath but there are templates out there you could get them online or you can their books even notebooks that have them already printed in um and I think those air fine if you're just working out details but a lot of times I think it's important to go through this process so that you could get a feel for what you like even you know, because you may not draw sketch and you may go oh, I don't like how you know her shape or I don't like the length of her you know how she's broken up and it can inform a lot of other things I mean that's why I love this because it's it's like you said we said earlier is kind of a little playful and it's also a chance to experiment it's nothing nothing is set in stone from the very beginning and the great thing about sketches especially doing tracing paper you do version after version after version so so there is a woman who's done croak, croak ease with different figure types for designers and their very helpful you're working with a client who has not really ideal figure to show them really what the garment would look like on them. Excellent think just realizing that it's not going to start out looking exactly like a face or a body you super helpful because you see so many people who, like are very artistic and could just kind of whip it out and it looks great and you're like, oh yeah, I know what that is, but like learning that it starts with like a more boxing shape and like smoothing it out is incredibly helpful and you like I said really custom that allows you to customize everything like you know, I with this with this crying there's so many things. As I was drawing that, I was thinking, oh, I would change that. I would change that even during this process, you know, at this age, so

Class Materials

Bonus Materials

Mood Board Checklist
Styling and Fashion Show Gear Guide

Bonus Materials with Purchase

Body Measurements Chart
Care and Feeding of a Garment
Change Agents
Copy Rights and Copy Culture
Dissemination - FashionArt
Fashion Equations.pdf
Fashion Show Checklists
Question Charts
Specializations - The Players
Starter Questions Chart
Pattern Making Gear Guide
Sketching Gear Guide
Sewing Gear Guide

Ratings and Reviews


Jay is a rare gem in the world of instructors. He has the perfect balance of information, examples, and hands on visuals. He included his students in the teaching process. They were not just the audience. Even the viewers were encouraged to participate! I loved his teaching style and enthusiasm as well as the content of information he shared with us. He covered a vast amount of information and led us at a pace that was very easy to follow. It reaffirmed my love of fashion as well as designing new ideas. This class was inspiring and motivating. If you are even the slightest bit curious about Fashion Design, constructing patterns, or even drawing models, this class is for you. It was all encompassing for an overview of Fashion Design from start to finish. Jay has an easygoing manner that you will want to watch him again and again. A great resource for your library. I can't wait to see him again in the Creative Live classroom!. Good luck to Jay and all his endeavors! Thank you Creative Live for providing yet another great learning opportunity for an international audience.

Michelle B

This is day one of Jays class and I am already hooked and purchased this class. Jay is an awesome instructor. He explains everything in easy to understand terms. He explained things that I have bought books to learn and didn't in one easy lesson. I recommend this class for anyone that has a interest in Fashion design or even learning to draw models for anything you need to sketch out. I hope Creative Live will bring Jay back for more classes. Jay is a instructor also worth having in your tool box of CL classes to refer back to for learning and inspiration! Thank You Jay for sharing your knowledge with us!!


I agree with everything that michelle-b said in her review of this class, and will add that I can tell that he is an instructor who not only knows his subject matter, but has excellent teaching skills. He is very engaged with his students, and focused on making sure that they get what he is telling/showing them. He also has the rare gift of distilling a complex subject down to its essence and teaching it in a simplified form that gives the student a good overview of the basics, and somehow also gives the student insight into more of the subject’s depth than he actually says in words. This broader understanding of the subject empowers the student to proceed on a much higher level than would be possible after taking any other course overview. Even more amazing is that the lessons covered in this way could be (and are) full courses in themselves elsewhere, but were merely segments of this two-day CL class. For this reason, if I ever got a chance to take one of Jay’s classes at the School of Fashion Design, I would take it in an instant. I too bought this class by the end of Day 1. For me, the segments on sketching and drafting alone were worth the $69, and the rest is bonus.

Student Work