From Sketch to Studio: My Step-by-Step Illustration Process

Every illustration I create starts with a feeling; sometimes it's a silhouette, a mood, or a single pose that sparks something. But getting from that first idea to a finished piece takes a lot more than inspiration. It’s a process, one that’s changed and refined over time.

In this post, I’m giving you a look inside how I work,  my personal steps from concept to finished illustration.

I. Mood & Concept

Before I start drawing anything, I need to know the feeling I want to create. Sometimes it’s elegant and moody, other times more playful or dramatic. I usually start by pulling inspiration; it could be a photo, a runway look, a certain silhouette, or even just a color that feels right.

I always go to Pinterest for this part. I create moodboards that help me focus the direction before I sketch. I like to mix unexpected references;  for this particular collection, I used inspiration from Chanel (my favorite), Tim Burton, and some vintage editorials to see what kind of visual story starts to form.

Sometimes I’ll watch a film that sparks something, or I’ll play a specific song that sets the mood. Music and cinema help me tap into a more emotional, atmospheric space… which often influences the energy behind the piece.

This is my favorite part of the process. It’s instinctive, creative, and it sets the tone for everything that comes after. It’s all about building the energy beforehand.

II. Sketching the Pose

Before anything else, I usually start by choosing the pose. I have a personal set of template poses I created myself, and they’ve become an essential part of my process. Sometimes I use them as they are, and sometimes I’ll adjust the position of the hands, arms, or feet depending on the energy I want to bring into the piece.

This step saves me a lot of time, it helps me jump straight into what I love most: drawing the silhouette of the dress. That’s where the magic starts for me.

Fabric is one of my favorite things to illustrate. I’ll often pull inspiration from Pinterest, especially from iconic designer gowns, or I’ll imagine something original based on the feeling I’m trying to capture. With Midnight Stripes, I’ve been really focused on exaggeration, elegance, and movement. The dress has to feel like it belongs to her, like it was made for that exact pose.

This part is where the storytelling begins. Even before the face, the way the figure stands and what she’s wearing already tells you who she might be.

III. Designing the Face (Optional)

Once the pose and silhouette are set, I move into the face, and for me, this part is just as important as the garment.

I know that traditionally, fashion illustration is all about the clothing. But in my work, the “sketch model” matters just as much. That probably comes from my character design background; I can’t help but imagine a backstory. I can’t fully create a piece unless I know who I’m drawing.

I have a specific face style that I’ve developed over time, but sometimes I’ll create a brand new face for a collection or design a few that I’ll rotate across multiple looks. My intention is building a visual narrative. A fashion story. And part of that means creating characters that are recognizable from one piece to the next.

For me, it’s less about perfect proportions and more about personality. It’s the expression, the attitude, the way her face holds emotion… that’s what gives the artwork its identity.

IV. Styling & Details

Once the structure is in place, I move into the details, the part where everything starts to feel intentional. I’ll decide on things like the hairstyle, makeup, and overall vibe, but for Midnight Stripes, the gown does most of the talking. The silhouettes are so bold and exaggerated that I tend to keep everything else minimal.

No pearl necklaces, no dramatic accessories;Just strong lines, flowing fabric, and understated elegance. I want the figure to feel refined and cinematic, but never overworked.

At this stage, I think more like a fashion editor. I focus on balance, negative space, and composition… making sure the look is clean, dramatic, and visually anchored.

VI. Final Touches & Backgrounds

Once the illustration is complete, I start thinking about the background; if there will be one at all. Sometimes it’s a clean backdrop with no distractions. Other times, I picture an interior scene, maybe with soft windows, subtle shadows, or architectural details. How much to include always depends on the mood of the piece.

If I’m working digitally, I always create the background on a separate layer. That way I can use it again, with or without the model, or repurpose it across a collection. There are days when I’m in the mood to create backgrounds just for the sake of it, usually while watching TV, and I’ll build up a small library of visual environments to pull from later.

Sometimes the background comes to me at the start, before I’ve even sketched the dress. Other times, the idea doesn’t hit until the very end. It’s different every time, and that’s what I love about it. This part of the process is personal, it’s where I get to decide how the character lives in her world.

My Closing Thoughts

This is just the way I do it. Your process might look completely different AND that’s exactly how it should be. What matters most is finding a rhythm that works for you. Something that feels natural, personal, and creatively yours.

I hope this gave you a bit of insight or inspiration to create in a way that feels good to you. Because at the end of the day, there’s always someone out there who will connect with your art. And even if it takes time, even if no one sees it at first, the most important thing is that you do. That you love what you create <3