Five different fabrications and I think there is a lot to be learned about the design sketch rendering process in demoing this for you. I designed this dress for teaching purposes it has a fitted bodice and a dirndl skirt which means it’s gathered at the waist and has fullness and I basically designed this dress so that you can see me render both smooth and tight to the body parts and draping parts these are fairly quick market sketches and here is my basic process for a dress that has minimal texture no shine is not see-through at all I like to use a semi see-through
Paper-like marker paper ditto paper and draw on the wrong side and render on the right side so that I’m not smearing a bunch of pencils around with that first layer of base fabric color and then I like to go in and draw usually you know when you have stuff it helps to kind of redraw the drapes so that you can place you shadows correctly so I’m going to draw all the drakes darts etc…
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Then go in with my shadow color, in this case, the blue-green 7 and put in my shadows you can see I already put my light source there and basically weird going on the dark side away from the light under the light like the bottom half of the press and cast shadow like when big folds cast shadows onto fabric behind the folds and things like that and gathers on a dirndl or like you know fabric shadow so I put those shadows in there like that and often I’d like to go back in with my regular fabric marker which is the blue grade 5 and kind of soften the edged of the shadow a little but not too much you know these are still really fast this
This is same Dress but in Denim and I am going to use the same marker color so that you can really see the differences in texture and highlights and all of that across the five dresses denim, in general, is a little bit on the heavier side is a little bit on the stiffer side when you come to the spectrum of fabrics, of course, there are different weights of denim but in general, I made the skirt a little bit flatter like it fell a little bit because it’s heavier the folds are not as bouncy because it’s a little bit stiffer and heavier and didn’t create as many gathers at the waist then I did with like the linen cotton lightweight dress, in the beginning, I render denim like I did the first basic rendering to start off with base fabric color draw out the shapes put in my shadow
The big difference is going to be the texture then the way denim is woven you see some of those white in a texture along the surface a lot of the time you ‘ll see it in a diagonal twill pattern and so I’m taking a white colored pencil or a white charcoal pencil and I’m going to put those two lines in there to kind of show off the white parts of the denim and they’re all go in the same direction pay attention to your particular fabric or how that expresses itself in your swatch and I’m going to lay down the white only in the highlight areas that’s kind of like you know you see it on the tops of your thighs when you’re wearing jeans and not so much in the shadow area te next one will be the same dress in chiffon is super sheer it’s super lightweight and if you can see the initial under dry you’ll see how flat it is doesn’t it’s not stiff so it doesn’t bounce out away from the body so much you’ll get that warm with organza and so the chiffon is closer to the body whenever you are rendering sheers you are going to need a couple of different skin tones a lighter
One for under the shear or you can just render it really softly as I did in this in this demo and shadow flesh tone so I always start with the skin tone when I’m doing sheers got that down and you can tell the difference of what’s going to be covered with a dress and what is just skin showing right because of the strength of my marker stoke how I filled it to the edges or I didn’t etc now the little underdress I’m just doing like a solid basic cotton underdress you know for modesty sake whenever I render a little underdress like this I kind render it less rendered a little bit more subtle the shadows are not as punched out the details are not really clear because you’re going to layer a right over it and so like you just want fewer details showing through and
The most detailed things are going to be the outside pieces just like the skin Tone is the strongest when it’s just skin tone and not covered By chiffon if you want to render a chiffon you need to use a really light version of the color so here I’m using blue-grey one for the base of the chiffon and I’m using blue-grey three for areas of shadow and areas where the chiffon is darker because it’s doubled over because of the drape doubled over because you can see the back of the skirt now you see that ellipse on the bottom where parts of it you can see the back of the dress things like that if you have a dart folded over you’re going to have multiple layers of the chiffon so those will be darker anytime there’s gathers those kinds of areas I would have punch in with the blue-grey 30
This next dress is the same dress but in a Charmeuse a couple of things about charmeuse one it is drapey and liquid and so it will fall okay see how it doesn’t stick out as much as a basic or the dead up and the drapes are small maybe not as small as the chiffon but pretty close okay it’s nice and Ripley and small and not big and stiff and bouncy and then show mousse is shiny and I’m go show you two shiny dresses one is soft shine and what is hard shine those are just terms that I use to differentiate soft shine is things like charmeuse satin Dutchess at that kind of things where you see the luster of the silk you see it when it catches the light but it’s not blinding white shot I mean it might kind of look like that if you have a real cheap polyester Sun but beautiful silk satin silk charmeuse is have a beautiful luster to that so we’re going to start by drawing the dress.
with the soft falling drapes of charmeuse we put down the base color again the blue Krait five we draw out the drapes and then we take our shadow color put in the shadows we take our
basic fabric color to blend out some of the edges and then now I’m taking a white charcoal pencil and I am coloring in the highlights so remember our light source is high and to the right of this paper and so that’s what my highlights are going sit the top plane of the chest a bit of the flat of the stomach the tops of those drapes as they hit the light okay and then smudge. It out a little bit with my pencil that would do this one is generals truffle white it’s a brand I’ve used a lot I like it and it’s pretty inexpensive this next one is hard to shine and by hard shine I mean fabrics that are super duper shiny and it will produce like those bright white highlights with this I start with the shadows first okay you’re gonna put in the highlights and it’s we’re so used to rendering shadows that a lot of the time it’s easier to put. Down the shadows and then let that help, you guide your placement of the highlights so I put in my shadows first. You know using the underdrawing and then, I’m taking my blue-gray one and lightly putting in where the starkest highlights. Be if you have like a gray double zero, that’s something super pale like that to mark where your brightest highlights are going be because at the end of it it’s not going read a color.
it’s going be so contrast he’s just going look as close to white as possible if you’re a little bit more advanced you, can leave the white of the paper which is something I often do but if you’re. just getting started taking that double. Zero gray or something like that to mark your highlights and then take your fabric color your base fabric color and render around your highlights and over your shadows then you get those three colors the fabric color the shadow color and the highlights I know this is usually the most difficult in this article out of this five hard shine is generally the most difficult so if it’s more difficult for you don’t be sad about it just keep, practicing right and I forgot to mention before when I drew this dress look how wide I made the skirt and how big I made. The drapes because PVC is stiff and so it’s going flare out a lot and the drapes are not gone be like a really gentle delicate. narrow fluting but big wide drapes and so I drew the drapes to reference the material being used so you can really see the two different because when you look at the pattern they’ll probably be very close to each other journal skirt fitted bodice and as I mentioned before I have deep-dive Nitty. Gritty super detailed rendering on all these textures you know in case you want more information, in case you want to deep dive more than you know a quick design sketch so here you have the five dresses all done. in the same colors of markers using the same basic dress style.
Takeaways fabric is so key to changing up the design see how the different fabrics really changed the mood of the entire dress takeaway number two it’s really a simple and straightforward to create textures and show that off in just even a quick sketch and really show off what the design is doing a design communication is my style because I love to accurately Express the design for people, okay these two bonus tip bits are just because I get these questions constantly Zoe how do you render black Zoe how do you render white. okay and honestly it’s really the colors of your markers or paint I have a whole article on black markers and they’re different colors but essentially what you need to do is to find a soft, like black not that grey but a soft like black and a dark black and you have your fabric color and your shadow color right.
There and I generally like to punch out the details with a white color pencil or charcoal pencil if I want that look the more obvious look otherwise render like you normally would with white same concepts just find the right markers you’re go leave the base color white you’re go shadow with grades there’s a lot of Gray’s out there so find the right undertone that works with your fabric I like to put in a couple of different layers of shadow when I do grays because I think it looks more complete that way okay so I’m using double zeros ones and threes, and you might be thinking wow how great three seems really dark I want you next time here at the grocery. Store pick up a bridal magazine and go look at some wedding dresses and you will find in those photos that some of those shadows are way darker than you might have imagined as for white on white patterns the same thing find a gray zero a gray one and draw your patterns right on, please.