Marker Demo - Organza

Step 1:

With your lighter shade (25% Gray) apply your color from the waist to the hem, radiating in a in a sunburst pattern. You will notice that the overlapped will shade automatically making dark valleys and leaving light peaks. Make sure your strokes are crisp and sharp to show the stiffness of organza.

Step 2 - 3:

Following the same steps as the "Chiffon" demo, apply your darker shade (50% Gray) from the waist to the hem, leaving plenty of the lighter shade showing. Then apply your black revealing the chamise undergarment. Make sure your strokes are crisp and sharp.

Final Image:

Notice the difference between organza and chiffon? Organza has sharp straight angles. There should be no curves or roundness. The fabric also stands stiffly away from the body. Unlike chiffon, that hugs the bodies curves very similarly to a knit.

Marker Demo - Chiffon

Step 1:

With your lighter shade (25% Gray) apply your color from the waist to the hem, radiating in a in a sunburst pattern. You will notice that the overlapped will shade automatically making dark valleys and leaving light peaks. Make sure your strokes are smooth and rounded to show the softness of chiffon.

Step 2:

With your darker shade (50% Gray) apply your color from the waist to the hem, leaving plenty of the lighter shade showing. Make sure your strokes are smooth and rounded.

Step 3:

With your black marker create shadow of the black chamise undergarment. Make sure not to extend the black to the outside edge of the skirt. Leaving the this border of grays accentuates the sheerness of chiffon. Keep your strokes are smooth and rounded.

Marker Demo - Sweater Knit

Step 1:

Apply your lighter shade (50% Gray) in the direction of the knit all over the entire garment.

Step 2:

Apply your medium shade (75% Gray) in the direction of the knit. Make sure to leave some of the lighter shade as the highlight.

Step 3:

Apply your black marker in the direction of the knit. Make sure to apply the color in stripes to imply the pattern of the knit rib.

Step 4:

With your white Prismacolor pencil, redraw the seams an hight light some of the knit rib. For a variegated rib knit, alternate the rib stripes from thick to thin.

Marker Demo - Velvet

Step 1:

With the lightest marker (25% Gray) apply the shine.

Step 2:

Do not let the marker work dry. Immediately apply the medium shade (75% Gray) leaving the shine light Gray.

Step 3:

Do not let the marker work dry. Immediately apply the black leaving space for the medium shade Gray and the shine light Gray.

Step 4:

Using the light Gray marker, go over the entire garment, pressing firmly. This will allow the marker shade to "bleed" into each other, simulating the soft look of velvet.

Step 5:

Using the white Prismacolor pencil draw in the seams, dart, folds and lightly shade highlights using the side of the pencil.

Marker Demo - Leather

Step 1:

With the lightest marker (25% Gray) apply first shade, leaving the shine white.

Step 2:

With the darker marker (75% Gray) apply second shade, leaving space for the lighter shade and white shine.

Step 3:

With the black marker apply final shade, leaving space for the first two shades, white shine and seam detail.

Step 4:

With a white Prismacolor pencil redraw the seams if they were covered by the markers.

Marker Demo - Sequins

Step 1:

Using the lightest gray marker, color in your first shade leaving the shine blank.

Step 2:

Using the lightest gray marker, make small dots into the shine.

Step 3:

Using the medium gray marker, color in your second shade leaving the space for your light shade and blank shine.

Step 4:

Using the medium gray marker, make small dots into the light shade.

Step 5:

Using the black marker, follow the same steps of the previous gray markers. Marker the black shade and make small dots into the medium shade. Make sure to leave some of the seam.

Step 6:

Using Pro-White paint make small paint dots into the black, medium and light gray shades. Also paint small sparkles sparingly on the garment. Using your Prismacolor white pencil you can redraw the seams if they were painted over.

Shading Figures

Blank Figures

Lighted from the Front

Lighted from the Left

Lighted from the Right

Hands & Feet

Hands:

Drawing hands can be difficult. It's best to see it as a shape and not be too involved with depicting all the fingers. Think of it as a mitten. Always illustrate the thumb and at least one finger.

Feet:

When drawing feet, think of them as hooves. A foot in a high heel is very similar in appearance to a calve's foot where the toe is the nail of the hoof and the heel of the shoe is the ankle joint of the hoof.

In drawing hands and feet, practice at least three different positions to memory and just repeat them over and over. There is no rule stating that you have to be a great hand and foot illustrator to make a beautiful full-body fashion illustration.

Fashion Illustration - Session 2

Faces:

The following is a demo for an idealized woman's face. This exercise will enable you to locate proper ideal anatomical placement for features on a front view and side view. For other races and/or stylized faces adjust accordingly while adhering the rules of anatomical placement (i.e. Ear size is the measurement from the tip of nose to brow line/ridge).

Step 1:

Draw a grid on your 9"x12" drawing pad in 1x1 squares.

Step 2:

Front View:

Based on a 4"x4", designate the center of the face at 2" from the side and 2" down from the top of the head. 2" down from top of the head place the eyes at the center line. Please note to leave a space equivalent to one eye's width between the eyes. The mouth lies 3" down from the top of the head on the center line. The jaw is lies 3" down from the top of the head and is 2" wide.

Side View:

Following the placement markers of the front view, place all the features in the first 1/4 of the profile head.

Step 3:

Front View:

The placement of the nose lies on the centerline between 2-3" down from the top of the head. It is up to the illustrator how long or wide the nose should be. On the generic face the nose would be the same distance designated between the eyes.

Side View:

Following the placement markers of the front view, place the nose 2-3" down from the top of the head. The jawline ends at the centerline 3" down from the top of the head.

Step 4:

Front View:

The placement of the nose lies on the centerline between 2-3" down from the top of the head. It is up to the illustrator how long or wide the nose should be. On the generic face the nose would be the same distance designated between the eyes. The height of the ear is the distance from the brow ridge to the tip of the nose. If you make a longer nose, it makes a larger ear; a smaller nose makes a smaller ear.

Side View:

Following the placement markers of the front view, place the nose 2-3" down from the top of the head. The jawline ends at the centerline 3" down from the top of the head. The ear is placed at the same location as the front view (height = distance from brow ridge to tip of the nose) joining the jawline. The ear width lies within the first 1/2 of the 3" cube.

Step 5:

Front View:

The neck is slightly thinner than the jawline.

Side View:

The nape of the neck's smallest point runs horizontal to the location of the lips. The underpart of the jaw runs horizontal 4" down from the top of the head and adam's apple os located at the halfway point of the 2" cube. The interior of the ear is lightly detailed, but unnecessary .

Fashion Illustration - Session 1

Hi Everyone,

Welcome to the Blog. It was a pleasure meeting you this past Saturday. If you were late, absent or just need a refresher to Saturdays 1st session; I will post the demo here every week for your reference.

OK. The first demo was: basic fashion illustration and proportion - standing front and standing side.

Step 1 :

Take a 9x12 pad of paper and turn it horizontally to the side. With a ruler separate the page into 9 equal parts, making each segment 1" high. Number each segment 1 through 9. (Fig. 1)

Fig. 1

Step 2:

Make a perpendicular center line from top to bottom 2" from the left side of the page. (Fig. 2)

Fig. 2

Step 3:

Start from the top of the page and draw the head. The head @ 1/2" wide and 1" high.

Step 4:

Mark the eye placement which is half of the head (1/2" down from the crown of head).

Step 5:

1 1/2" down from the crown, mark the location of the shoulder. The shoulder should be @ 1 1/2" wide.

Step 6:

2" down from the crown mark the location of the breast point. Each breast is @ the same width of the head (1/2" each).

Step 7:

3" down from the crown mark the location of the waist, which is the same location of the bottom of the elbow. You can make the waist as small as you like. I usually make it slight smaller than the chest (@ 3/4").

Step 8:

4" down from the crown, mark the location of the crotch, which is also the same level as the wrist. The hips should be at least the same width of the shoulder (@ 1 1/2") or larger (never smaller - that would a man's measurement).

Step 9:

5" down from the crown is the finger tip length (long slender hand looks more elegant).

Step 10:

6" down from the crown, mark the location of the bottom of the knees. They touch at the center line, and are @ 3/8" in width each.

Step 11:

7" down from crown is the shin. A good reference point for designing capris.

Step 12:

8" down from the crown, mark the location of the bottom of the ankle. They touch at the center line, and are @ 1/4" in width each.

Step 13:

9" down from the crown, mark the location of the toe.

Fig. 3

Step 14:

Connect all the reference points to create basic fashion illustration using the "9 heads high" principle.

Step 15:

Sid view is handled differently. The centerline has only 4-5 reference points touching; the nose/chin, the breast point, the waist, the knee (optional), and the toe. You can also illustrate a standing view with the leg straight from hip to toe, but I prefer the leg slightly bent with the knee touching the centerline for added stability. All the other reference points (eye, shoulder, elbow, wrist, crotch, finger tip, shin and ankle are the same location as the forward standing view.