essential fashion illustration essential color and medium

FASHION ILLUSTRATIONCOLOR +MEDIUM

ESSENTIAL

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Introduction7

PencilTamara Villoslada8

WatercolorsVerónica Ballart30

PastelsAleksandra Budnik52

MarkerRosa Bocharán74

GouacheLoreto Binvignat96

Mixed Techniques and Digital Illustration118

Contents


7

Fashion illustration is a fundamental tool forpresenting a designer’s creations. Not only does it need to be an aesthetically pleasing image, butalso it likely has to provide certain information andshow certain qualities of the clothing. Whensketching a new creation a fashion designer willmost likely not draw a hyper-realistic illustration,but instead is more likely to produce an imagewith exaggerated proportions, an idealizedsilhouette which shows off the garment’s maincharacteristics. However, to be able to do this firstand foremost it is necessary to know how toillustrate. This is why it is important to know howto use the different techniques that exist fortransferring the properties and characteristics of agiven item of clothing onto paper. Since the aim offashion illustration is to represent the design in thebest way possible, it is fundamental to take intoaccount what material the garment is made ofwhen deciding which techniques to employ. Eachmaterial has a different texture, some materials areshiny, like satin, others opaque, like linen, someare semi-transparent, like tulle, and others arethicker, like felt. These different textures affect theperception of the color. White satin, for example,does not have the same appearance as whitewool, and black leather is not the same as black

cotton. Each of these examples will be betterrepresented, according to their texture andperception of color, by way of a differenttechnique.

As a guide to setting out in the field of fashionillustration, this book teaches readers how to usefive of the most classic techniques: pencils,watercolors, pastels, gouache, and markers. Each of these is developed by a different illustrator, all of whom are professionals with close links tothe world of fashion. Step-by-step, didacticexercises show how to apply the technique inquestion, each of their different qualities, and thedifferent methods that exist to attain different andvaried results. The illustration of a figure dressed inan outfit constitutes a final exercise for each of thetechniques. Consequently, as well as seeing howan illustration can vary from one technique toanother, an array of different illustration styles can also be appreciated: the same task given tofive different illustrators may result in five totallydifferent illustrations. As an accessory to thesetechniques, the final chapter of this book visuallyexplores other forms of illustration, both digital andhand produced.

Introduction


8

Pencil is is the most basic and traditional of drawing mediums, and has becomeuniversal thanks to its versatility and accessibility. Its use can help achieveillustrations with a high level of detail and it is ideal for representing volumes,shadows, lights, and highlights in a picture. It is easy to erase, allowing it to be used as a base for drawing, regardless of the technique used afterwards for applying color. There are two types of leads, soft and hard. Soft pencils—identified with the letter B (B for black)—produce a very dark line, making them

fundamental for creating black areas, and provide a higher degree of flexibilityand expression. The hard leads—known as H from hard—are dryer and grayish intone; they produce a finer, lighter line, so they are often used for sketches andfor detail work. There are also pencils with lots of different color leads, althoughto learn to use them and master the technique, for example combining them andcontrolling the intensity of the line, it is best to start with just the basic colors—cyan, yellow, and magenta.

Pencil

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9

Tamara Villoslada

Tamara was born in 1977 in the town of Esquel, in Argentinean Patagonia. After several moves she eventually arrived in Cordoba, where she studied art and communication science and formed part of the Bistró Casares multi-disciplinary group. In 2002 she decided to move to Barcelona, where shedirected her career in art toward illustration, after having completed a post-graduate course in the Escuela Eina. Her illustrations have been published in

magazines all over the world. She has designed T-shirts for the Japanese brandGraniph and illustrated objects for Poketo (Los Angeles and Japan)—work thatwas exhibited in Barcelona’s Duduá store. In the publishing sector, her mostrecent project was to illustrate El templo de la ciencia for the publishing houseEditorial Planeta.


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Tamara VillosladaPencil

Sketches are made of thepossible ways to express thequalities of this blouse with a pleated collar. Since theblouse in this case displaystransparencies and is madefrom particularly fine fabric,showing it loose—on ahanger for example—accentuates its lightweight,delicate appearance.

The lines that are not goingto be used are cleaned, anda pencil of medium hardnessis used to draw the details ofthe blouse. The folds of thecollar are outlined, takinginto account the way inwhich the neck falls in orderto strengthen its real volumeand perspective.

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11

Finally, the light and shadoware defined. Special caremust be taken for the areasof transparency, where thedifferent overlapping layersand textures must beperceived. These areas canbe darker, thereby simulating a greater concentration ofmaterial.

Blouse with Pleated Collar


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Since color will be the mostprominent feature of thisillustration, a graphite pencilis not used to sketch thegarment. It is done directlywith color—with a specialcolor pencil, which is easilyerased—so that afterwardthese lines integrate easilywith the final drawing.

With the same color pencilthe pattern for the rest of thejersey is drawn. The volumeof the garment must be takeninto account and how thisaffects the design; the patternbecomes narrower at thesides and wider in themiddle.


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Once all the colors have been applied, the lines arestrengthened by applyingmore pressure where thepattern requires morepresence, like in the middlesection or the parts withshading. Gently applyingcolor creates volume, whilealso respecting the pattern.

Multi-Colored Zigzag Jersey


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A figure is sketched in a pose that shows off the skirt. Given the volume and the fall of the garment, a three-quarters position is chosen. The general linesof the skirt and the mainfolds formed by the volumeare sketched with a hardpencil (2H).

The figure is outlined and thedetails of the skirt start totake shape. The rest of theclothing must be simple toavoid visually competing withthe item being shown. Theline that outlines the figureshould be left as clean anddefined as possible.


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The shadows are drawn, firstthrough areas sketched witha medium pencil (HB),which allows us to test theeffects of the chiaroscuro andthe volumes. The finish isdone with a propelling pencil,which, thanks to its sharpend, offers greater precision.

Balloon Skirt


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A sketch is done of thetrousers in movement, torepresent the pattern in amore realistic way. Detailssuch as the waistline,buttons, pockets, and beltloops are drawn, and thetexture of the trouser cuffs is also represented.

The checks are drawn with a delicate line, which is easyto erase (2H pencil). It isimportant to take special careto respect the folds in thefabric. The lines of thepattern appear, disappear,and fold in these areas.


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The lines in areas wherethere is more shade arestrengthened and the detailsare finished with greateraccuracy. With a soft leadpropelling pencil (B type)high definition can beachieved even in dark areaswhere the line seems tooverlap with what’s behind.

Loose-Fitting Tartan Trousers


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The figure is drawn in anappropriate posture forshowing the coat. A frontalpose allows the viewer toappreciate the details. Thevolume of the coat and themain lines are sketched andthe figure is given boots,which do not interfere withthe ensemble.

The figure, which has takenshape from the previoussketches, is outlined. Thedetails of the coat, the main creases, and faintshading are drawn.Representing the highlightswill be fundamental indemonstrating the quality of the polished material.


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Different quality pencils areused and areas are left white.With soft pencils (3 or 4B)bold strokes are used toachieve almost completelyblack areas, which contrastwith the areas left white,which represent the shine of the leather.

This coat can also be done incolor, since in this case it isthe strong contrast in shadesthat gives the garment itscharacter. Creating brightreds and still leaving otherareas white, will achieve the same shiny effect.

Patent Leather Sixties Overcoat


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Different sketches of thehand are drawn to find aposition that is visuallyattractive. Since the fabrichas a lot of texture anddetails, when the hand ismore outstretched thesecharacteristics of the glovecan be better appreciated.

A hard pencil (2H) is used todraw the first details of thelace, since this is the initialsketch. The pattern is addedto, taking into account thehand’s morphology, theindents, and folds. Once theoutline has been defined, thelines are strengthened with an HB pencil.


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Volume is given to the gloveby coloring with differentpencils, from HB for themore transparent areas up to 3 or 4B to achieve thedarker sections. Keep inmind, the level of darknessof the different pencils alsodepends on the pressureapplied.

Lace Glove


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The hat is begun by way of areasonably detailed initialsketch. It is important to bearin mind that the texture ofthe material of the hat andthe volume of its flower needto be seen. This is why thebest option is to do an initialdrawing.

The edges of the hat aredefined using a pencil ofmedium hardness. Thedetails are outlined andtextures—of the hat, hair and mouth—added, alwaysconsidering the light, in thiscase from above, and theareas of shadow that this will form.


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Pencils of different hardnessgenerate levels of darkness,which give the hat structure,leaving areas of sharpcontrast, which better definethe figure. Special attention is paid to the volume of theflower, exaggerating a little to allow it to stand out in the composition.

Sun Hat with Flower


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A sketch of the boot is done,marking the main elementslike the heel, buckle, cuts ofthe leather, and the texture of the fur. Quick and accuratepencil strokes are used forthis, which begin stronglyas they come from the boot,and weaken toward the end.

Once the figure has beendefined, the line is cleaned—with the help of an eraser—and the definitive lines aredrawn in. Greater pressure isapplied to the pencil in orderto obtain a firm, definedstroke. The shading is addedusing different levels ofdarkness.


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The gradient shadingdepends on the frontal-laterallight that this boot receives.For the hairs, a propellingpencil is used since thisprovides a finer line; it isrecommendable to combineleads of different hardness toachieve darker or grayertones.

Boot with Fur


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Sketches are done to definethe figure. Once chosen, thefigure of the girl with theclothes on is insinuated. It is drawn with light strokesmade with a very hard pencilso that after the lines areerased and the drawing is left clean.

The different garments aredrawn on the figure withcertain details, including thecreases of the waistcoat, the shirr of the sleeves, thehighlight from the glasses,the facial expression, thecreases of the Boulloné skirt,the sole, and shading of theboots, etc.


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Outfit with Boulloné Skirt

The first details are drawn,without adding the light orshading. The details of theshirt pattern and the motifson the leggings are thendrawn, paying specialattention to the projection of the different textures.

In this step the figure isoutlined more firmly and witha clean line, using a mediumhard pencil (HB). Morepressure is applied for areaswhere there is more shadingor definition and the pencilline is weaker in light areas,in order to suggest volumeand light.


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Tamara Villoslada

A color is integrated into thecomposition so that it doesnot appear excessivelymonotonous. Since the grayfrom the graphite dominatesthe composition, it isimportant to carefully choosethe areas where color will beapplied so that it is not lost,which may happen if it isapplied to a dark area.

The volumes are modeledthrough darker and lightergray areas. The areas ofshading are determined andspaces are left white for thehighlights, thereby creatinggradient shading. To createintense blacks a B pencil is used.

Pencil


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The last step is to go over thefinal details with a propellingpencil, which allows for moredetailed work. To finish thecomposition, an extra touchof color is added asdecoration and to give thecomposition personality,without taking anything awayfrom the figure.

Color is also applied to the bracelet and leggings,depending on the volume of the leg and withoutconsidering their pattern.Greater contrast is achievedbetween the tones ofgarments like the skirt and the boots, in order toenhance their body and denote the volume.

Outfit with BoulloneSkirt


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This is a technique of painting with colors diluted in water. The colors used aretransparent, and their opacity depends on the amount of water used to mixthem. These colors can be found in various formats, such as tubes, blocks,watercolor pencils, and as liquids. The most common support for working withthis technique is paper. With the wide variety available, the most adequate is onethat has a higher basis weight than normal paper, which can be found in differenttextures and colors. The tool most often used to apply it is the brush. Due to the

way in which they are employed, the use of watercolors offers many possibilities,such as even washes, color overlaps, and gradation. It is also possible to createdifferent effects with different application methods, such as with a sponge orscraper. Thanks to these characteristics, it is the ideal technique for representingtransparencies and light fabrics, such as silk or gauze.

Watercolors


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Verónica Ballart

From a very early age Verónica Ballart (Stockholm, 1979) felt a strong inclinationtoward drawing and fashion. Her first studies focused on graphic design, after whichshe moved to Barcelona—where her mother was born—to continue the same degreein the design school IDEP. Her work placement in the graphics department of Mangopresented her with the opportunity to apply her designs to T-shirts. Due to her high

standard of work, she continued at the company for a year after having finished theplacement. Following this she worked for Incites, a fashion design studio, creatinggraphics and illustrations for clothing. Today she works as a freelance graphicdesigner and illustrator, collaborating with various brands and companies. Herinspiration comes from her travels, the street, books, and magazines.


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Verónica BallartWatercolors

First the figure is drawn witha pencil, without too muchattention to detail. Beforecolor is added, the area ofpaper that will be painted onis moistened with a brush.After waiting a few minutesthe skin tone can be appliedto the entire body, includingthe top.

Once dry, the top is paintedin a light shade, in this casegray, and a fairly diluted layeris applied so that the skincolor is still perceptible. It isrecommendable to use fewbrushstrokes, in order toavoid the brush leaving water marks.

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Semi-Transparent Top

Shading is created to donatethe volumes and emphasizefolds and creases. To do this,various layers in darkershades are applied, whichare painted over the wholebody, including the top. Tocreate a greater variety oftexture, different tones areused.

The last step is to paint inthe details of the illustration.To do this, a fairly undilutedwatercolor is used, which isapplied with a fine brush thatallows small elements to bepainted like the polka dots,folds in the arms, edges ofthe top, eyes, and mouth,etc.


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Verónica Ballart

The first step is to draw thefigure with a propeller pencil.In this case, not only is theoutline is drawn, but also thepattern on the b louse anddetails like buttons, folds, orflounces, which will make it easier to then apply color.

With a liquid watercolor anda medium-thick brush, thebase color of the blouse isevenly applied. The area ofthe pattern is left white, since this will be done in a different range of colors.Once the base color ispainted, it is left to drycompletely.

Watercolors


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For the pattern, a fine brush is used that allows for agreater level of detail. Firstthe lighter colors are evenlyapplied—the pink in theflowers and the brown of thebranches—and over them the details and the shadingare added using colors likeviolet and gray.

Flowery Blouse


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Verónica Ballart

The garment is drawn indetail with a pencil. The areaof the paper where color willbe applied is moistened and,after waiting until it is almostdry, the first layer can beapplied evenly and with afairly diluted watercolor.This helps to achieve greater texture.

Various layers are applied indifferent tones of each color,with the aim of forming thedifferent volumes. It isimportant to take intoaccount the direction of thelight in the drawing to createshadows where they areneeded and leave the areasthat receive most light white.

Watercolors


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Once various layers havebeen applied with colors thatare darker than the base, acotton swab is used on thewet watercolor to spread outthe quantity of paint. Thisachieves greater control overthe volumes, lights,highlights, and shading.

Once the desired volume is achieved, darker colors are applied—dark blue andblack. These are used for the final details, such as thefolds, creases, and buttons. A fine brush will afford thework greater accuracy.

Silk Blouse with Boulloné Sleeves


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Verónica Ballart

The first step is to draw thefigure in pencil. Because thematerial is transparent, it isnecessary to draw thesilhouette of the legs, as wellas the outline of the trousers,as the legs can be seenthrough the cloth. The foldsand knots in the fabric arealso drawn.

With a thick brush, a firstlayer of color is applied in thesoftest tone found on thegarment. When using a thickbrush on a small surface, itis important to be verycareful to avoid mixing thedifferent colors.

Watercolors


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Loose-Fitting Lurex Trousers

In order to clearly show that itis a semi-transparent material,the area corresponding to thelegs is painted in a darkertone than that of the base ofthe trousers. The first shadingis also applied with thisdarker tone.

With a darker color (lilac)and a fine brush, thevolumes, folds, and creases of the trousers are formed. To do this, the position of the legs is not taken intoconsideration, and thetrousers are considered as a whole. Color is alsoapplied to the area where the legs are.


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Verónica Ballart

First of all, draw the outlineof the skirt with a pencil. It isnot necessary to draw thedetails, but only to mark themain folds of the cloth, as aguide for applying color. Aftera first layer of color, the basecolor of the skirt is applied.

The first volumes are createdby applying various layers ofdifferent colors within thesame range, which alsoenrich the texture. Thecentral area receives mostlight and should therefore beleft lighter than the others.

Watercolors


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The last step is to paint thepattern onto the dry skirt.This is done with a very finebrush and a reasonably thickwatercolor. For the whitedetails it is better to usegouache, since whitewatercolor is very difficult to see when applied overdarker colors.

Jacquard Skirt


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Verónica Ballart

The coat and all its details,like buttons, belt, pockets,folds, etc., are drawn inpencil. With a fine brush a“liquid mask” is applied overthe lights and details of thecoat, which, when finished,are meant to be lighter.

Once the liquid mask hasdried, the coat is painted. Todo this, color is applied to allof the coat’s surface in a lightshade of brown, with a fairlydiluted watercolor. It is not a problem to paint over the mask.

Watercolors


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Different layers are appliedwith different mixes ofbrowns. A thick watercolor is used, since this will helpto create the effect of theskin. Also, to accentuate thiseffect, it is important to waitfor each layer to dry beforeapplying another.

Carefully take off the maskwith a craft knife or tweezers.To avoid damage, the maskshould not be left on for toolong. Once it is taken offcompletely, the areas arepainted in a light tone, sothat the details and the lightsstand out.

Leather Overcoat


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Verónica Ballart

A fine-pointed soft pencil isused to draw the figure withthe bathing suit, marking thedraping on the chest. With amedium brush, the paper islightly moistened with wateron the drawn figure. Oncethis is almost dry, a skintoneis applied to the body.

The next step is to color thebathing suit. Begin with avery pale and diluted gray,taking into account thedirection of the light. Because in this case, it is coming fromthe left-hand side, fewerlayers are applied on thatside so it appears brighter.

Watercolors


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Once the base is colored andwhile it is still wet, thevolumes are created with aless diluted, darker shade ofgray. A fine brush is used forthis, marking the folds thatare formed by the draping onthe chest, as well as theshading on the bathing suit.

The last step is adding thedetails; the creases and theoutline are painted with analmost black-gray to betterdefine the figure. Toincorporate a little color,bracelets are painted,applying the diluted colordirectly onto the skin.

Draped Bathing Suit


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Verónica Ballart

To better appreciate thetransparency of the shawl,the figure is drawn from theback. This is done in pencil,marking the main folds andoverlaps of the fabric as wellas the outline. Then the skinis given a faint color,including the areas that theshawl covers.

Next, the dress is given color.This is done first with verydiluted layers of pink, whichgradually create volume. Aswas the case with the skin,the area of the dress coveredby the shawl is also givencolor to achieve the effect of transparency.

Watercolors


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Color is applied to the shawlwith a thick brush. In theareas where it covers the skinor the dress, it appearsdarker, and where it is alone,lighter. For greater control, it is recommendable to workwith a reasonably dilutedwatercolor and apply severallayers.

The details are painted usinga finer brush. The creasesand folds of the shawl aremarked with a darker shadeof gray, following the fall andmovement of the material.Color is applied to the dresstie and the hair, and theshadows are added to createthe volumes.

Sheer Shawl


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Verónica Ballart

With a pencil the figure isdrawn with all its details,from folds and creases to theshapes from the pattern orthe texture of the bag andjersey. The surface of thepaper that will be used ismoistened and left until it is almost dry.

The first coloring is applied to the skin, the lightest toneof the composition. Then,working with a dilutedwatercolor, the base color of the jersey is paintedcarefully and evenly in a light shade of gray.

Watercolors


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Violet and Pink Outfit with Bag

Then, the shirt, skirt, leggings,bag, and hair, which receivean initial faint, diluted layer ofcolor. The combination of thecolors begins to give volumeto the figure and to create a composition.

For the details of the garmenta finer brush and a darkertone than that of the garmentitself are used, with a slightlymore diluted watercolor. The folds, creases, and edgesof the clothes are marked,and the pattern of the shirt is drawn.


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Verónica Ballart

To enhance the volume of the garments, more layers are applied in the areas ofshading. Various tones areused for this, enriching thetexture of the illustration.After this step, the illustrationis left to dry completelybefore continuing.

Watercolors

In this step, the shading onthe clothes is added. To dothis, first the areas thatreceive less light in thecomposition need to beidentified. These are paintedwith a thick brush in darkertones than the garment, inorder to create depth.


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Violet and Pink Outfit with Bag

Once it has dried, the lastdetails are drawn with a fairlyfine brush, which is used likea pencil. To represent thehighlights on the bag, a whitegouache can be used insteadof the watercolor. The detailson the face are also drawn in.

Last, details like the shadingon the boots, the texture ofthe leggins, the zipper chain,and last shadows of the bagare done; the pattern on theshirt is finished; and the eyesand mouth of the figure arepainted to give the face anexpression.


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Pastels are composed of chalk mixed with pigment and a binding agent, whoselevel of hardness depends on the proportions of these elements. Being anopaque material, it can be applied over the top of all types of surfaces paintedwith watercolors, gouache, acrylic, or India ink. It is a technique that canaccurately represent the creases in fabric, volumes, and changes in depth. Themost common formats are crayons (bars of brightly colored pastels that are easyto manipulate) and pencils (harder than crayons and ideal for detailed work). The

main support for pastels is thick, textured paper, and its accessories are thestump—a tool made from paper closely rolled up, which has the thickness of a pencil, and is used for smudging—and a knife—used to sharpen the pastels to draw details. Erasers are als o used. Not just to erase but also to createhighlights and lights—and fixative in aerosol form or hair spray is used to protect and set the work once finished.

Pastels


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Aleksandra Budnik

The childhood of this Belarusian was surrounded by batiks, sculptures andembroidery, so it was natural that her higher education lead her to art schooland subsequently a post-grad degree at the prestigious National University of Artof Belarus. After an intense preparation, she attained a place there to studyfashion design. During the five years of the course she developed women’s

collections, one of which was shown in the Lafayette Galleries in Berlin,participated in several competitions, and during the last two years designed and created wedding dresses. In 2006, she graduated as one of the topstudents, which earned her a grant to study for a year at the Istituto Europeo di Design (IED) in Barcelona, the city where she lives today.


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Aleksandra BudnikPastels

The figure is drawn oncolored paper, so that thewhite of the dress and itslightness stand out better.The light and shade on thebody are drawn with differenttones, and the dress is thenpainted white, avoiding thefold and cut lines.

The darker shading from theribs and the folds of the dressis done using a color that isdarker than the background,such as brown, withoutsmudging. The color of thepaper, which can be seenthrough the dress, will be themedium tone of the shading.

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A sky-blue pastel is used to accentuate the areas of shadow, which is thensmudged using a finger. A fine pencil is used for thesmaller details, in this case a propelling pencil. Theembossed stitching aroundthe bust, the pleats of thematerial, and the folds at the neck are then added.

Dress with Embossed and Ribbed Stitching


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Mohair is a material with afurry texture, which is verysoft and shiny. Texturedpaper is used to reproducethese characteristics. Thefigure is sketched with apencil and then horizontalpastel lines are drawndirectly onto the paper, whichare smudged with a finger.

For the fur of the mohair,short strokes are used indifferent tones of greenthroughout the surface of the jersey, changing theirdirection for the sleeves andthe neck. These lines providegreater volume and bring the garment to life.


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The jersey is colored withdifferent tones within therange of lilacs, blues, andsky-blues, to create the lightsand shading and give thefabric consistency. Finaldetails such as the ribbing on the sleeves and neck are done with fine lines in dark green.

Mohair Jersey


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In this case, the pastel isused in different ways. First,the skirt and its folds aredrawn—and to give the base color of the skirt a drypastel—is then grated with a craft knife onto the surfaceof the paper. This is thenspread with a wet brush,marking out the folds in the skirt.

For the tartan pattern, thepleats of the material and howthese affect the design mustbe taken into consideration;the lines are neithercontinuous nor straightbetween one fold and another.Then color is applied with the base color of the skirt,avoiding the lines of the tartan pattern.


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Different shades of the colorsfrom the tartan are used tocreate the lights and shadingwith pastel pencils or finepointed pastel crayons. On the pleats of the skirt, a deep blue color is used for the shading created by these folds.

Tartan Skirt


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The coat is drawn,incorporating details likepockets and buttons. Toachieve the effect of the frockcoat material, the texture of a thick material is used,such as linen. This is placedbeneath the paper to whichcolor is applied heavily.

The outline of the coat and the sleeves is smudgedwith the finger to create themain volume. With a darkbrown, fine-pointed pastel,details like the buttons andbuttonholes, folds, creases,or stitching are drawn andthen lightly smudged.


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The same details areenhanced with a dark red,which creates subtler andmore precise shading. Theface is sketched and thesilhouette is defined withbrown. Any variation in theform can be easily correctedwith an eraser.

Frock Coat with Mao Collar


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The outline of the head withthe neckerchief is drawn.Details are not drawn, onlythe folds that the neckerchiefwill have. The entire surfaceis covered with the base colorof the neckerchief, which is then carefully smudgedwith fingers.

The pattern, in this casepaisley, is drawn with coloredpastels. It is important tobear in mind that the patternfollows the folds and volumesof the material, which mustbe shown when drawing.


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The last step is to create thevolumes. To do this, thelights are represented using a white pastel or one lighterthan the base color, and witha pastel that is darker thanthe base color. The edgesand knots of the neckerchiefare drawn, and the folds thatform the garment are added.

Paisley Neckerchief


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The figure with the sarong isdrawn. With a pastel pencilthe main folds are markedand lightly smudged, takinginto account the direction ofthe light. In this case, it isfrom above and frontal, sothe upper section and theparts that project outwardsare the lighter areas.

To reproduce all the differentshades created by the lightand the transparencies, a wide range of colors is needed. First of all thecreases in the material aredrawn with a dark color, inthis case, a dark blue. Thenthe different shades can be added.


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For the different tones of thesarong, light colors are usedwithin the same color range,like blue, sky-blue, and violet.To reproduce the transparencyof the material, pink, yellow,and beige is used, whichinsinuate the body beneaththe sarong.

Semi-Transparent Sarong


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Since most earmuffs come inlight colors, dark paper isused to heighten the contrast.They are drawn with white,which is then smudged. The features of the face aredrawn with strong, thick linesand the hair is given color,allowing glimpses of thebackground.


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With short, quick strokes the volume and the texture of the earmuffs are drawn.Sky-blue is used for theshading and pink and yellowfor the reflections. The colorof the face is completedleaving a blue background forthose areas in shadow.

Earmuffs


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The figure is drawn anddressed in the nightdress.Because the garment is semi-transparent, first the body ofthe figure is colored with askin tone. Once completed,the entire nightdress iscolored pink, which will bethe base color, and smudged.

To create the volume, a darkercolor than the base is used, inthis case beige. The areas ofshading are marked, like thefolds, ruffles, straps, andedges of the nightdress, andthen smudged. This helps todifferentiate the nightdressfrom the color of the body.


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White is used to highlight theruffles on the upper sectionof the bust and some of thefold, and a magenta pencil isused to define details like thestraps or the bows. A stumpis used to smudge theshading beneath the chest on the lateral outline of thenightdress.

Short Nightdress with Ruffles on the Bust


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For the arms, orange and pink are used, therebyoffering two tones with whichto create the highlights andshading. The lines that definethem are well marked, andthen lightly smudged with a finger, to start to createsome volume.

First of all, the silhouette andthe elements it is composed ofare drawn subtly in pencil, butwithout detail. The lines thatmark and separate the outlinesare drawn with the color thatcorresponds to each garment or part of the body.


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Dancing Outfit

The waistcoat will be blue.Different tones within therange are used for this tocreate the highlights andshading, such as light greenand black. The lines thatmark the outline and the firstcreases are drawn and thenlightly smudged.

The skirt is colored light green.Since it is a Boulloné skirt, itforms a lot of creases, whichare marked in dark green. The colors of the pattern are used on the shirt, stillwithout details, with thick,defined strokes, which are not smudged.


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A little color is added to thebag (orange and red) and itstexture is created. The figurewill have black hair, and to create volume and aluminous effect, violet is used. Strokes are applied that follow the movement of the hair.

In this step, certain detailslike the knot on the shirtstrap are defined, the line of the neck is added, the faceis sketched, the folds of thejersey are gone over, the beltis drawn, and certain detailsof the pattern are added to make it more consistent.


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The boots and leggings arecolored in detail. On the boot, white and sky-blue are applied to produce thehighlight, and red is used for the stitching. To properlydefine the heel, its silhouetteis outlined in gray. The part of the leg that is not coveredby the leggings is given color.

The last details arecompleted, like giving thebag texture, incorporating the lights of the hair, andcoloring the face to give thefigure expression. For thefiner details, it isrecommended one to use a pencil, which allows for more thorough work.

Dancing Outfit


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A marker is is a writing instrument that is composed of two parts: a deposit forthe ink and a tip made from a porous material, normally in felt or nylon. The tipcan be different sizes and shapes. These in turn create different lines, so thateach thickness has different specific use. Fine-tip markers (up to 0.157 in) are used to illustrate with great detail; medium tips (0.047 in) are ideal forillustrations made from loose and very free lines; the macro pen (0.276 in) can

be used to color large surfaces quickly and evenly; and the brush pen is oftenused to represent both simple and highly synthesized figures and transparenciesand volatile fabrics. The combination of several sizes notably enrichesillustrations. It is possible to find a wide variety of colors on the market and it isa technique that can be used not just on paper but also on various surfaces suchas slate, wood, plastic, etc.

Marker


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Rosa Bocharán

Rosa Bocharán was born in Ciudad Real, Spain in 1968. From an early age shehas been interested in drawing, painting, and fashion, which is what lead her tostudy artistic drawing, design and later fashion coordination, art and techniqueDress. Throughout her many years of experience she has simultaneouslydeveloped her three interests. She has created fashion collections, is part of the

Associació Professional d’Il·lustradors de Catalunya (APIC), and her illustrationshave been published in magazines like Cornabou. She has developed a verypersonal style in her paintings, combining different techniques such as oil paints, pencils, markers, pastels, and watercolors.


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Rosa Bocharán

With a pencil the silhouetteof the figure is drawn in the desired position, in sucha way as to synthesize thevolume of the top. This isdone with a light pencil (HB or less) to be able to then easily erase theconstruction lines that willnot be used.

The figure to be illustrated isdrawn in detail. Each featheris drawn separately, whichwill later make them easier tocolor. It is important to notethe difference in the directionof the feathers on the body tothose on the neck.

Marker

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A medium-tip marker is used to give the skin color,applying a base layer. Variouslayers are applied of thesame color to give volume,until the desired tone isachieved. With a brush penthe feathers are filled in,leaving small spaces in whitethat illuminate the top.

More layers are applied overthe feathers to create differenttones of black and givetexture to the top, respectingthe spaces in white. Therings are colored with a goldmarker and to finish theentire figure is gone over witha fine black marker (02, forinstance).

Feather Top


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Rosa Bocharán

The jersey on the figure isdrawn with a pencil. Themost pronounced creases are drawn, and the texture of the fabric is sketched withlines. Because it has thickstitching, the ribbing isdrawn wide, giving thematerial the appearance ofbeing heavy.

Two tones from the samerange are used to color thejersey. A first layer is appliedwith each color to give abase tone, leaving smallspaces of white, whichilluminate the composition.Over this layer the outline of the belt is drawn.

Marker


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Ribbed Jersey with Open Neck

Several layers of each colorare applied to createvolumes. For the moreintense shading, a darkerviolet is used. The furry effectis achieved by stippling witha marker, and the lines of the ribbing are marked with a black fine-tip marker.

The entire figure is outlinedwith a black fine-tip marker(02). The jersey outline ismarked with a wobbly line to simulate the furry textureof the jersey. The buckle and the button holes of the belt are drawn and the creases are added.


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Rosa Bocharán

The silhouette of the body is drawn, standing up andleaning over one of the hips.The basic forms and volumesof the skirt are drawn overthe figure in pencil. No detail is drawn, just thedifferent layers and cuts of the material.

The skirt is drawn over thebasic figure, marking themovements and undulationsof the fabric. The pleats inthis fine material producemany folds and creases,which should be marked indetail. The lines previouslydrawn are erased.

Marker


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Skirt with Pleated Ruffles

With a medium-tip marker, a first layer of each color is applied. In this case, black and crimson have beenchosen. Color is appliedevenly but while spaces are left to mark the lights anddivisions.

Several layers of the samecolor are applied with themarker to achieve darkertones and thus create thecorresponding shading.Finally the edges and foldsare outlined with a blackfine-tip marker (02).


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Rosa Bocharán

The silhouette of the figure is drawn with a light pencil(HB or less) and the shape of the trousers is drawn on top of this. Certainconstructive details are drawn,like the cut of the fabric andthe waistband of the belt and the feet, as well as thecord for adjusting the trousers.

Still with the pencil, thefigure is better defined. The pockets and their zipsare drawn, the creases aremarked, and detail is drawnon the lower part of thetrousers. Next, a first layer is applied with a marker,leaving spaces of white for the light.

Marker


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Sports Trousers

To create the shading of the creases, several layers of color are applied to thebase color of the trousers.The upper and lower sectionis given more color, which iswhere the creases are mostconcentrated, leaving thecentral area clearer. Thedetails are marked with a fine-tip marker.


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Rosa Bocharán

The coat is drawn with a softpencil. To create the guidesfor applying color, the buttons,the details of the belt, theshoulders, and the sleeve and the marks of the creasesformed by the position of the material, are all drawn in detail.

A wide-tip marker is used to apply an even layer of red, to provide the base color.Some areas are left white to give light to the garment.With a black fine-tip markerthe lines of the tartan aredrawn, following the formand movement of the fabric.

Marker


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Tartan Overcoat

Several layers are applied toachieve the areas of shading,which give the garmentvolume. A darker tone canalso be used for this. Theblack lines of the pattern arecompleted and given detail,and then the backstitches aremarked with a white marker.


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Rosa Bocharán

The figure is drawn in pencil in the desired posture. Becausethe leggings are going to beillustrated, the mostrecommended posture is onewith one leg in front of theother to be able to clearly seethe design. The silhouette ofthe leggings is marked, whichbeing lycra has no creases orfolds.

The geometric pattern isdrawn, taking into accountthat the form of the body and its movements must befollowed, hence straight linesare avoided. An initial baselayer is applied with eachcolor, leaving white spacesfor the light and divisions.

Marker


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Lycra Leggins with a Sixties Pattern

To achieve darker tones,several layers of each colorare applied until the desiredtones are obtained. Beinglycra, the color is quite even,so only volume on the legs ismarked. For better definition,the drawing is outlined witha fine-tip marker.


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Rosa Bocharán

A flat drawing of the sneakeris done without details, onlymarking the main lines thatseparate one color fromanother. A soft pencil is usedin case anything needs to beerased, and so that there areno marks and the result isclean.

Three colors are used for thesneaker: red, dark gray, anda very light gray to thenmake the shading from thewhite. With a wide-tipmarker a layer of each coloris applied, and, being anopaque material, whitespaces are not left for thehighlights.

Marker


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Sneakers

More layers of color areapplied until the desiredtones are achieved. For the white areas, few layersare applied, thus avoidingoverly intense shading andgenerating little volume. Thetrainer and the details areoutlined with a fine-tipmarker (02).


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Rosa Bocharán

The bag is drawn in pencilwithout too much detail. Just the volume it willoccupy, the cuts between the different materials, andthe position of the clasp are drawn. A soft pencil is used so that afterward the lines that will not be used are not shown.

Color is applied using thebase colors of the bag,leaving spaces of white,which give light to thedrawing. Various layers areapplied to create the initialvolumes. The clasp ispainted with a gold fine-tipmarker and the folds andshading are marked with a brush pen.

Marker


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Small Bag with Giant Clasp

With a black fine-tip marker(02), the details of the bagare marked: the lines of thecreases and the stitching aredrawn, and the edges areoutlined. With a white fine-tip marker small lines aremade on the clasp to give it light.


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Rosa Bocharán

The final details are drawn,which will serve as a guidewhen coloring with themarker: the pattern on theshirt; the frames of theglasses; the zipper, the chainand the clips of the bag; theleggings; the zipper on theboots; and the folds of theskirt and the waistcoat.

With a soft pencil the figureis drawn in the desired pose.Then, with a darker pencil,the main garments aredrawn—ribbed woolenwaistcoat, shirt, Boullonéskirt, and boots—simply, andonly marking the volumes.

Marker


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A layer is applied with thebase colors of each garment,leaving small spaces of whitefor the lighter areas. A brushpen is used for the hair,which achieves a bettertexture. The leggings aregiven a skin color since theywill be semi-transparent.

Purple Flower Outfit

Various layers of the basecolor are applied to eachgarment to achieve darkershades. The shading iscreated and lighter areas areleft, which in turn form thevolumes of the garments. It is important not to color overthe spaces left white.


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Rosa BocharánMarker

To achieve the transparencyof the leggings, the marker is used in combination with a pastel, a technique thatallows this effect to be betterillustrated. A black pastel is used to draw a light layer.This should then be smudgedwith a cotton swab.

The pastel is used again for the details of the patternon the leggings. A slightlydarker tone is used than that obtained for the base, in this case violet. Themovement of the legs should be taken into account when drawing the motifs.


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Purple Flower Outfit

The details of each garmentare marked. To create thetexture of the waistcoat a fine marker is used (02). The lines that represent theribbing are drawn, taking into account that these are not straight or even, but follow the movement of the garment.

With the black marker, themain creases formed in theskirt are marked, the paddedtexture of the bag is created(and its details are drawn in) the zip on the boots isdrawn, the facial features are added, and lastly theentire figure is outlined.


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Gouache or tempera has been used since medieval times, at which time it was known as temple paint. It is often confused with watercolors, since bothtechniques are applied in a similar manner. The difference, however, is thatgouache is heavier and more opaque. It is applied using layers and veils (diluted).And, in contrast with watercolors, the darker tones can be applied first or overthese the lighter ones or even white. This means that despite its matte finish, it

is the perfect technique for illustrating reflections and intense highlights forelements like glasses, jewelry, gems, or metals. It dries quite quickly and, oncedried, errors can be corrected by superimposing layers, bearing in mind that ifthe layer is too thick it may crack. The materials used for this technique are: aheavy paper, recipients with water, a palette for mixing the colors, and brushesof different thickness, depending on the level of detail that needs to be achieved.

Gouache


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Loreto Binvignat

Originally from La Serena, Chile, she lived in several cities during her childhood—both inside and outside of the country—giving her a more open vision of theworld. On returning to Chile, she finished high school and studied art at thePontificia Universidad Católica, which marked the beginning of her artisticcareer, and hopes of continuing her training in New York or Europe. After two

years, she moved to the Dominican Republic to study fashion design in the Altosde Chavón School, affiliated to the Parsons School of Design in New York. Afterthe first term, she decided to continue her studies in Barcelona, graduating atthe Istituto Europeo di Design (IED). Today she works as a fashion designer foran international company and as a freelance illustrator.


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Loreto Binvignat

A light pencil (HB or less) is used to draw the top, sothat this does not dominatethe drawing. All the detailsare drawn, and for the gemsit is recommended one drawthe faces of each stone, inorder to follow the forms and highlights when coloring.

The blue base color of thetop is painted with a thickbrush. The advantage of the gouache is that if theresult is not even, it can becorrected by adding one ormore layers afterward. Thebase color of the skin is alsoapplied in this step, whichwill be finished off later.

Gouache

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Top with Gems

Color is applied to the basewhere the strip of gems willbe, which are then evenlypainted. With a very finebrush, the highlights are added to different parts of each stone, depending on the direction of the light. Last,the main folds and shading are marked with gray.


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Loreto Binvignat

The shirt is drawn in pencil. In the ribbed area it is notnecessary to draw all thecreases but rather to synthesizeand mark only some of them.It is recommended that onemake some blacker than othersto create depth. This will serve as a guide when it comes toapplying color.

With a reasonably thickbrush, the first layers of each color are applied, withthe gouache very diluted inwater, thus obtaining a lightertone for each color. This is done flatly and evenlywithout consideration for the light or shading.

Gouache


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Ribbed Shirt

With a less dilute gouachethe stitching and creasesformed by the ribs and thesleeves are marked. Becausethe material is cotton anddoes not create reflections, it will not be necessary to add white for the points of light. For a better finish,the edge is outlined with a pencil or marker.


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Loreto Binvignat

With a light marker the skirt is drawn with all itsconstructive details. Then theorganic forms of the militarypattern are drawn, taking intoaccount that the part wherethe buttons are will not bepatterned and that thematerial changes direction at the pockets.

The lighter of the three colorsin the pattern is used as thebase color for the skirt. It isapplied with a thick brush inlarge strokes, keeping it evenso that the tone is the samefor the entire surface.

Gouache


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Army Skirt

Based on the original armycolors, the other two shadesof green are chosen for the pattern. The applicationof these colors follows thepattern that has been drawn.To be able to follow it exactly,a brush of medium thicknessis used.

To finish, black is applied,the tone that is darkest andhas least presence. The blackareas of the pattern arecolored and a marker is usedfor the details like the edgesof the buttons and pockets or the creases in the skirt.


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Loreto Binvignat

The skirt is drawn with alight pencil (HB or less). Themain creases and the stripesfrom the pattern are added.When drawing these it isimportant to remember thatwhere there are folds thestripes become curved anddo not follow the exterior line.

A medium brush, between 6 and 10, is used to applythe base color of the skin and the red from the stripes.A good way to obtain a moredetailed result for the stripesis to position the paperdiagonally, so that the wristcan follow its naturalmovement.

Gouache


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Striped Skirt

The stripes that may nothave been correctly paintedcan be defined with a thicklayer. To create depth in theinterior of the folds, the redstripes are painted in a lessdiluted color, and a grayishveil is applied to the whitestripes.


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Loreto Binvignat

The dress is drawn simply,only marking the buttons, the cut, and the maincreases. It is not necessary to draw the pattern or thepatches, as they will be done in a more random way,which will also allow thecolors and the forms to stand out more.

With a thick brush, between16 and 20, the first layer of yellow is applied, which is the dominant color of thefabric. It must be applied asevenly as possible to be ableto create the pattern cleanly in the next steps.

Gouache


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To create the smudged effect,a small sponge dipped in athick layer of red is used. It is then stamped onto thedress, first heavily and thenmore gently to create thesmudged effect between the patches.

To finish, the organic motifsare painted randomly on thepreviously colored surface.Then the final details areadded, like painting thebuttons and going over the outline of the figure with a pencil to improve the definition.

Patterned Dress


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Loreto Binvignat

The trousers are drawn witha soft pencil, so that thework is left clean in caseanything needs to be erased.The creases in the trousersare drawn formed by theinclined posture of the figure.The creases in the shoes, thezipper, and the pockets arealso added.

The medium tones areapplied and the shading and highlights are outlined.For the trousers, first a thin,grayish layer is applied,which will be the middle tone of the gradation fromthe white to the black. Thearea with highlights is leftcompletely white.

Gouache


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Layers of dark colors areadded, leaving areas ofgradation so that the shineseems more real. If some of the color passes onto theareas where there are totalhighlights, where the paper is meant to be left white,these can be easily correctedwith a thick white gouache.

Leather Trousers


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Loreto Binvignat

The figure is drawn with alight pencil. To represent thevolume of the fur from thehood, small lines are drawnaround this section. It isimportant when drawing the silhouette of the parka to reflect its volume, whichcan be achieved with curved lines.

To achieve the lightest tonesof each color, a fairly dilutedgouache is used to apply aninitial layer in orange for thebody of the parka and beigefor the furry hood. On thisbase, darker tones can beapplied to create the shading.

Gouache


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A second layer is appliedwith the less dilutedgouache, and therefore thisdarker layer begins to givevolume to the fur on thehood and to the body. To addvolume and depth in the fur,small lines are applied indifferent sizes and tones.

The last step is to add theshading. To obtain darkertones, orange is mixed withred and beige with brown.These colors are used for the respective darker areas of the parka, such as thestitching and the details of the fur.

Canadian Parka


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Loreto Binvignat

With a light pencil (HB or less) the face and glassesare drawn. Details like thecheekbones, the lips, and the motif on the glasses aredrawn. The areas withhighlights can be markedwith a very light 3H pencil to provide a guide when it comes to applying color.

An initial skin tone is appliedthroughout the face with thegouache fairly watered down.Because the lenses of theglasses are transparent, thearea they occupy should alsoreceive the same skin color,except for the areas wherethere are highlights.

Gouache


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With a very diluted blackgouache, which will actuallybe seen as gray, an initiallayer is painted to define the shading and highlights.The black part of the framesis painted with a thicker, and therefore darker, gouacheto differentiate them from the lenses, and the fuchsiaand blue are both applied.

Definition is given to thedrawing by applying morelayers of each color andperfecting the details. Thehighlights and reflections inthe lenses are outlined withwhite, and small white linesare drawn on the frames. For a better finish, the face is outlined in pencil.

Glasses


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Loreto Binvignat

The figure is drawn in detaillightly, so that afterward the pencil lines do not cause any problems. It isrecommended that one begindrawing with an F or HBpencil so that if anythingneeds to be erased it doesnot leave marks on thepaper, and the final drawingappears cleaner.

The first area to be painted is the skin. With a thickbrush a well-watered beigelayer is applied, which is only used to obtain thebase color. The lenses in the glasses are also paintedin this color to create theeffect of transparency.

Gouache


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Balloon Skirt Outfit

Fuchsia is then incorporated,which will be used as thebase of the waistcoat and the balloon skirt. With a largebrush, number 18 or 20, a moderate layer is applied,allowing the drawingunderneath to be seen andthe areas of shading and light to be easily followedafterward.

The patterned shirt is thenroughly colored, withoutincluding too many details.First, the flowers are painted,starting with the green stalksand then the petals arepainted yellow. Once thepattern has been painted, the shirt is painted black.


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Loreto Binvignat

With the base of all the colors done, the details of thegarments are started. A layerof shading is applied to theoutline of the waistcoat andwith a very fine brush and in a darker tone the lines ofthe ribbing are drawn alongwith small spikes to simulatethe fabric.

Gouache

A very fine brush—number 0 to 1—is used to give colorto the glasses, which willmake it easier to paint themaccurately. First, a gray veil is applied to the lenses,leaving the highlights white.Then the black frames arepainted very carefully.


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Balloon Skirt Outfit

Now, definition is given to allthe elements—details on thepattern, the volume of thewaistcoat and skirt, and thefacial expression—and darkertones and the brightesthighlights are applied. Finally,the figure is outlined with apencil or marker.

The other elements arepainted black. The hair isdone with small brushstrokes, following its natural direction. With a 0 pencil the stitching on the bag is outlined and each cheek is given color.The highlight is left white, as in the case with the boots.


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Mixed Techniques and Digital Illustration

Mixed techniques refer to both illustrations that combine techniques alreadyseen and collages. The advantage of these is that by using pieces of material,paper, thread, sequins, etc. the combination of textures and materials found in an outfit can be better presented and the final result more closely representsthe garments themselves. All the mixed technique illustrations have been doneby hand, making each result unique. Digital illustration is illustration work thatuses a computer in part or all of the process. Drawings can be scanned and

colored afterward using a computer, different images can be scanned and thenmixed, or one can draw directly onto the computer with a “digital pencil” on amonitor. The main programs that are used are Photoshop and Illustrator. Theadvantage that this technique offers is that tests of color and form can becarried out on a single illustration, until reaching a satisfactory result.


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Daria Jabenko | www.illustrationweb.com // Mixed Techniques

Unified by a romantic touch, each illustration presents its own personality. They combine gouache, watercolors, and ink to achieve highlevels of detail. The harmonious color palette is dominated by different shades of red.

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www.illustrationweb.com

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Zulema Galeano | www.zulema.org // Digital

The base for these illustrations is old paper, which is drawn on and colored with pencils, markers, ballpoints, or watercolors. Then color isapplied using Photoshop, or a filter is used (such as the mosaic in the case of the skirt) which helps to create unique pieces.


www.zulema.org

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Olivia Rubin | www.oliviarubinlondon.com

To achieve a representation that is as close as possible to the garments of this designer, the figures—drawn in pencil and colored withwatercolors—are scanned and, in Photoshop, the patterns and textures are applied.

// Digital


www.oliviarubinlondon.com

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Carolina Alonso Lavalle | [email protected] // Collage

To enliven these compositions, done entirely by hand, different elements have been combined such as cuttings from magazines, cloth, anddressmaking materials like wool or sequins. The designs play with color contrasts, textures, and patterns.


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Marisa Fjärem | www.fjarem.com/marisa

The aim of these illustrations is to show the clothes without using the idealized figure of a model. They have been created using papercuttings—similar to the cloth from the garments both in structure and in color—combined with drawings and photos.

// Collage


www.fjarem.com/marisa

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Paula Sanz Caballero | www.paulasanzcaballero.com // Collage

Each piece is sewn entirely by hand, which is a slow and meticulous task. When doing this, the intrinsic qualities of the materials are nottaken into account but are taken to their limits to achieve the creative aims.


www.paulasanzcaballero.com

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Maria Cardelli | www.mariacardelli.com // Digital

These digitally created collages are given life through the variety of materials, such as enamel paints, oils, papers, or anything that couldafford an interesting texture. They are then combined on the computer to create visually striking compositions.


www.mariacardelli.com

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Sarah Beetson/Illustration Ltd | www.illustrationweb.com/SarahBeetson

Diverse materials, such as spray paint, tissue paper, and circular stickers, have been combined to create these colorful illustrations, whichhave been applied over drawings made with pens, wax pencils, and markers.

// Collage


www.illustrationweb.com/SarahBeetson

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Chris Ede/Illustration Ltd | www.illustrationweb.com // Digital

First a sketch of the composition is done and then the elements are drawn separately with ink, acrylics, and watercolors. These are scannedand, in Photoshop, color, texture and perhaps the odd effect are applied to create the final illustration.


www.illustrationweb.com

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LAU* | www.laura-mc.com // Digital

The technique used in these illustrations combines black ink, markers, and Photoshop. Flat colors were chosen along with geometric motifsto achieve quick results, where the line of the figures and objects is accentuated.


www.laura-mc.com

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PPaint | www.ppaint.net

The figure is drawn with a brush, pencil, or pen, and the other elements are painted and treated to create textures. This is all scanned,mounted, and colored, using few effects so that the final illustration, although digital, does not appear artificial.

// Digital


www.ppaint.net

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Sophie Leblanc | sofk.free.fr

1

// DigitalThe initial drawing is done by hand and afterward a computer is used to apply colors, graphic streams, and textures. These come frommagazine cuttings and snippets of cloth, which are scanned, thus bringing a high level of realism to the illustrations.


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2 3

1, 2 and 3: Illustrations extracted from La Mode by Gentiane Lenhard, illustrated by Nikita, Sophie Leblanc © 2007 Éditions Milan


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5

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4, 5 and 6: Illustrations extracted from La Mode by Gentiane Lenhard, illustrated by Nikita, Sophie Leblanc © 2007 Éditions Milan


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Oscar Giménez | www.oscargimenez.com // Digital

The initial line is always drawn in pencil, then on the computer the line is polished and the rest of the illustration is done on Photoshop.Color ranges that do not form excessive contrasts are often used and it is common to integrate real textures with photographic elements.


www.oscargimenez.com

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Bjørn Brochmann/Commando Group | www.commandogroup.com

Photoshop is the main tool here. Flatter illustrations can be achieved, such as those that combine drawings done with ink and hand-writtenletters, or more realist compositions, such as those that mix parts of photos with lines from the same photos.

// Digital


www.commandogroup.com

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Carole Agaësse | www.caroleagaesse.com

The Bézier curve is a digitally drawn shape based on the insertion of control points that allow the curvature of the line to be adjusted. Theseillustrations use them to obtain perfect outlines around the figures and the patterns.

// Digital


www.caroleagaesse.com

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Mariya Paskovsky | www.mpaskovsky.com // Digital

The pictures are hand drawn and then given color using Photoshop, which can combine gradients, flat inks, and real textures in thecompositions. They are modern illustrations but have decorative elements that are reminiscent of art nouveau and popular art.


www.mpaskovsky.com

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Kun-Sung Chung | www.kschung.com

1

// Digital

Illustrator CS2 has been used from start to finish to create these illustrations. Most of them use just three tools: pen, gradient, andtransparencies. Inspired by the concept “less is more,” filters and effects have been avoided where possible.


www.kschung.com

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3


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Inoue Taiji | mooz.com.br/rti9 // Digital

To create these illustrations, first the figures are drawn in pencil and then scanned. Once digitalized, the color is applied. Flat inks are usedfor this and different shades are combined in a single garment to create volume.


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nando&silvia/potipoti Graphic Division | www.potipoti.com // Digital

This is an unconventional and fun way of illustrating fashion, where the classic figure is not used. Drawings done using markers arecombined with pieces created in Freehand, which allows for the creation of different motifs on the garments.


www.potipoti.com

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Avsh Alom Gur | www.avshalomgur.com

This is a particular style that salvages a classical, low-tech piece of equipment: the photocopier. A photograph is introduced, which is copiedas a negative, and during the process the tray is drawn on to create movement. The finishing touches are done with markers.

// Collage


www.avshalomgur.com

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maomao affirms that it possesses all the necessary rights for the publication of this material and has duly paid all royalties related to the authors’ and photographers’ rights. maomao also affirms that it has violated no propertyrights and has respected common law, all authors’ rights and other rights that could be relevant. Finally, maomaoaffirms that this book contains no obscene nor slanderous material.

Whole or partial reproduction of this book without editor authorization infringes reserved rights; any utilization mustbe previously requested.

Copyright © 2008, 2011 by maomao publicationsFirst published in 2008 in the United States of America byRockport Publishers, a member ofQuayside Publishing Group33 Commercial StreetGloucester, MA 01930-0589Telephone: (978) 282-9590Fax: (978) 283-2742www.rockpub.com

ISBN-13: 978-1-59253-430-2ISBN-10: 1-59253-430-9

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Publisher: Paco AsensioEditorial coordination: Anja Llorella OriolText edition: Macarena San MartínArt director: Emma Termes PareraLayout: Maira PurmanPhotography: Gogortza & LlorellaEnglish translation: Jay Noden

Editorial project: maomao publicationsTallers, 22 bis, 3º 1ª08001 Barcelona, SpainTel.: +34 93 481 57 22Fax: +34 93 317 42 08www.maomaopublications.com

Printed in China


Digital edition: 978-1-61060-142-9

Softcover edition: 978-1-59253-430-2

www.rockpub.com

www.maomaopublications.com

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