Costume Illustration: One Approach
 This
is a step-by-step demonstration of my approach and technique
for developing a costume illustration from thumbnail sketch to
finished art. Many folks have written to me about my work. This
article steps through the phases of my artistic production. The
illustration to the left will be appearing in an upcoming dance-themed
issue of Crescent
Magazine. This Gypsy dancer is also the new cover art for
my Hints and Tips
booklet, available free on my website. I will use this illustration
as an example and show you how it came to be.
Develop the Concept
For Crescent Magazine, I developed a brief article
that presents the major styles of Middle Eastern belly dance
costuming, I decided I need five drawings to give the reader
a broad overview including two illustrations of bedlah, one with
a bra/belt set and the other with an elegant beladi dress. I
also wanted to include a Gypsy styled outfit, tribal-fusion style
and folkloric costume. The goal here was to create five illustrations
that were detailed and elegant, presenting the non-dance reader
with a representative illustration that embodied the key features
of each costume style.
Thumbnails
Before I do complete drawings, I make a map, in the form
of thumbnail sketches. These preliminary sketches are just visual
notes giving me an idea of the parts and pieced of each costume
design. At this point I make lots of notes along with the illustrations.
As you can see from the scan, these early drawing are quite schematic.
I use engineers computation pad which is a smooth green sturdy
paper that can take a lot of drawing and more importantly, erasing.
It's printed with a grid on the back that show through faintly
on the front. The grid makes it easy to establish proportions
in the figures, and allows me to keep my notes organized. The
best part - it comes three-hole punched and easily slips into
my work binder.
Thumbnail Sketches
Costume Design
Next, I will build on my thumbnail illustration focussing
on the costume design. On a fresh sheet of paper, I draw a preliminary
sketch in one quarter of the page. I also like to draw out more
details of the costume. I do '"flats" of each individual
piece with further comments and notes to myself. During this
phase I play with design motifs and surface treatments. When
I have sketched and erased, then sketched and erased some more,
I will settle on a design, or go back to the thumbnails and try
something different.
Costume Flats
Rough Sketches
On a second sheet of paper, I explore different views. I workout
issues of line and proportion from different angles until I figure
out what kind of angle will best show off the costume I've designed.
Again, I make lots of notes on the drape and cloth and the shape
of the individual pieces. Some types of costumes require specific
pose details to show off the costume to advantage. For costumes
with decorative arm treatment, a lifted or extended arm might
display these features. In this case, I decide that I will lift
the skirt to show movement and volume of the design. These drawings
are usually rather stiff.
Rough Sketch
Figure Reference
When I have the design worked out, I then cruise through
my image files. I keep a couple of binders with clippings, sort
of like a scrap-book. Many of the illustrations are culled from
advertising, dance magazines, business cards and web sites. This
collection fills several binders. I use this reference library
as a resource for coming up with ideas for costume details and
garment shapes. But, I also use these books as a pose file.
Black and White
Photo of Zaka
View
larger image
Drawing the Figure to Size
Before I draw, I select a few images to use to give
me some inspiration. In this case, I found a vintage 8x0 b&w
glossy from the 1960s with a graceful pose and an interesting
headdress. Using the same Engineers pad, I do a preliminary drawing.
I then pop the drawing onto my light table and I trace it onto
plain white paper. I try to make the figure fit onto an 8 1/2"
by 11" sheet of paper. Large enough to draw in details,
but a convenient size for storage in a standard 3 ring binder.
Pencil Drawing
View larger image
Finish the Drawing
Using a three step process, I finish the drawing.
First, I outline the drawing using a set of fine pens. As I trace
the lines I like best, I work from top to bottom, going down
the figure. I then lightly erase the pencil lines, removing any
extraneous marks. This cleans up the illustration. I then use
markers to add the first layer of shading on each of the garments.
I build up the layers to create shading, using subsequently darker
markers. When I've finished the grey washes, I then go back into
the drawing and draw in details. After I have gone over the finished
piece with one last erase, I check for places where I may have
missed a line.
Finished Drawing
View
larger image
Supplies List
Mechanical Pencils .05 and .07
Pentel Click Eraser
Magic Rub Eraser
Fine Liner Markers
Staedtler Pigment Liners
Sharpie Extra Fine and Ultra Fine
Sakura Pigma Micron
Sakura Pigma Brush
Zig Millenium
Large Makers
Copic Sketch Markers
Itoya Double Headed Markers
Zig Brush and Scroll Pens
Sanford Prismacolor Markers
Tria Markers
Engineers Compuation Pad
HP Laser Jet Paper
|
