Fashion Design: Start to Finish

Lesson 15 of 47

Drawing: Render Color

 

Fashion Design: Start to Finish

Lesson 15 of 47

Drawing: Render Color

 

Lesson Info

Drawing: Render Color

So now I'm going to draw a very simple outfits because our next phase is going to be about, uh, rendering color, so we need something to render color in. And we also want to talk about how we get our sketch transfers, so if you bear with me for a second, um, we go way back, okay, so I was gonna do a very simple outline. Hey, and I'm very purposefully going to work in just one color because when we transfer, um, we're going to use the actual colors were going for, so I'm gonna create this little I'm pierre airline, I mean, airline a line outfit on let's. Just do a little scoop, keep it very simple and yeah, okay, okay, so it could not get more simple than this, and you would do all the information for your sketch. You do a nice little sketch, and then we have the light board here and again because you don't have to do everything freehand you could build way would put this sketch underneath, and we normally we could work with any kind of heavier paper, and we can position this sketch, um...

, where we wanted on the page and for the transferring, we want to give ourselves clues for when we start drawing, and we also want to make it it's so light that we barely can see it I mean we can see it as a guide for color all right so here I'm going to follow all the areas I see skin in where the skin tone pencil or something close I'm gonna switch off and make her a redhead and again just transfer over basic information maybe put in her details and then work with the colors that I'm actually creating the garment in at least for the sketch and you don't have to trace out again with those like a heavy line you could just do these little directions that give you the essence of the direction for that line you could in the beginning just actually trace out every single line but even if you do that in the first process at at this point you can get a little lighter and use that quality of line let's say I choose a different color for the bottom ok, so I think we have enough there to work with so when we're working on um the solid white paper not the tracing paper then we could start to introduce color and we we can treat it almost like a coloring book were filling in that base color that we're going to be building texture and shadow and all these kinds of good things so the idea behind rendering color at least so that you can get comfortable with it is to transfer over the design used the colors as a guide and then that's your frame and then you fill that shape with the right color and then we can shadow so I'm gonna go ahead and select my colors you could do a little taste and all I'm doing is filling in the background, not worrying about every little hair and just thinking about what that middle color is keep on going and you might want to do all the base color first and it's also important to remember that whatever the medium is, I'm using markers because they drive really quick please, and they're great for a demo but you khun do all the coloring in with watercolor or whatever uh, medium you want to use. The other thing that I try to do is follow the green of the fabric so for instance, I tryto follow the shape so it's going in that direction ah lot of times that can help with I'm not having sort of splotchy nous that doesn't feel like the fabric and finally it's gonna work on the half so you could see all the levels of it yeah, studio go ahead. So I was just wondering if I know you said that a lot of times you start out with color pencil and and was it, but do you try for the most part to stick with one type of utensil like all water color all marker like doesn't get her sketch or different per sketch like I feel like michelle excited I would say yeah I would say for um you don't usually mixing uh watercolor and mean and marker could be a little difficult unless you're doing something very specific but I wouldn't rule anything out I would think you just want a formula like I've had students who basically say they're going to do all their skin tones in water color because they like the way that looks and then do all the clothes and marker and the contrast is so long as it's consistent can be really nice and here for the for the feeling of color I can always come up to meet and to fill this so that we're blending back and the streaking actually works for us wait the size the bottom so now we've worked basic color kind of almost like a you know a coloring book now we can add a little bit of shadow shadows are something you probably uh you don't have to add they can get a little heavy sometimes I always try to think of a light source so if we have light coming in in that direction from the upper side then shadows they're going to be on this side so this arm I might add another layer of color so it gets a little richer I might add a little shadow underneath. A bust on the side for her skin I might give her a little shadow underneath her um her chin to kind of bring it out I might give her a little shadow for her cheekbone bridge of her nose not doing the other eye but you give her so the hollow of her eyes and and here we really have the foundation for everything we would finish off with pencil because we have that full color filled in what type of markers you were using I oh thank you that's a good question because I I use primarily prisma color I like the quality of them I know that there are more genetic derek versus to be honest the quality for most of those high end markers are pretty consistent but I just grew up you know started it all with prisma color the same thing with the pencils but there is a whole range of specialty pens which I actually kind of have a few of them here um there's so many but like when I'm doing metallics or white it's or anything like that this these all play into the process afterwards so they're like little highlights and little you know if I want to do beadwork so actually let me play a little bit if I was doing bringing instead of a gold bead I might take a metallic and then here I might be putting in detail depending on where the design wass and because it's really hard to find exactly the right color with regular markers, so sometimes you have to go into colors. They're going to sit on top. But the key to this is you don't want to use these kinds of markers for your base color because there's nothing to build on. They completely obliterate the sketching, and they take over. So these kind of heavy, like metallics, or even I have a very cool, um, white pen on, and I'll do it over here, which actually is one of the few times I mean, phew, phew. Ways for you to get white on top of a dark color and he's, a really great, these particular ones or galaxy markers. They have white, have black metallic, but that's. How you can kind of embellished, but the baseline are these prism of color and the prison color pencils.

Class Description

Interested in the world of fashion? Even if you're not an aspiring fashion designer, you’ll enjoy this class. Jay Calderin is the Director of Creative Marketing and an instructor at the School of Fashion Design. He is the author of three top-selling books on Fashion Design, and the founder and executive director of Boston Fashion Week. 


In Fashion Design: Start to Finish, Jay Calderin will get you started through hands-on demonstrations and step-by-step guidelines. 
Learn to navigate through the design process, from conceiving a garment to marketing it.

The various phases of fashion design will be covered, including:
  • research and mood boards, collections and trends
  • sketching, draping, pattern making, construction 
  • branding, marketing, and industry positioning
Fashion doesn’t have to be intimidating. This class is a beginners guide to the world of fashion design, led by an industry professional.

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