Fashion illustration fur coat tutorial free download

But how to get them right? Gemma says that her style has evolved naturally. Put it aside, then repeat from a different angle. This forces you to think about its anatomy to make the action look possible. This allows me to compose individual scans into one image very easily and takes some pressure Mixing real-world and digital craftmanship using brush strokes off making mistakes in a drawing.

Also, Photoshop makes it very n this tutorial, artist Ollie with a Brush Pen, then transform it I easy to correct mistakes Munden takes you through into a slick-looking, three-colour in your drawings. So if the process of creating his digital artwork. I added in the skeletal hands, arms and legs without reference. Look at the finished artwork and note the flowing lines; try to draw these Once you have completed in by hand, or if you find it easier, add them using the Pen tool in Photoshop, this, make a print-out of your then trace them.

I tried to break up the torso with these lines, which is a very composition; A3 is a good Japanese technique. The main photo of the cyclist really inspired me as I liked the angle from which it was taken.

When doing your own new artworks, keep your eyes peeled for photos that have strong visual qualities, good angles, nice lighting and are of high resolution. Movement is often something I try own unique rider. When drawing The Polygonal Lasso tool, plus the the flowing lines, keep it very loose.

Roughing matter if your piece turns out differently areas out like this loosely helps to mine — in fact it would be better. Once you have The piece is entitled Chasing the completed this, make a print-out of your Dragon. If you only have an A4 printer, print amongst the flowing lines. Using the each side of the composition and tape final art as your reference, add this to them together.

Using Color Overlay you need to lighten certain areas. This should take a little less work as the contrast between the darkness of the pen and lightness of the paper is greater. I chose not to use white as cream seemed to give it a slightly more authentic Japanese feel. For this I used a Select the Lasso tool and begin brush pen, available from good art picking out the areas that appear as stores or direct from the likes of Faber cream in the final illustration.

Remember Castell faber-castell. This piece uses a traditional Japanese-style colour palette, If you have a graphics tablet handy, For some smaller areas of detail — with the baseline work colour being red.

To achieve this we it could prove very useful at this stage. Adjust the This Layer: pen stroke. Hit OK. Create a new layer and leave it blank. Merge it with the are piecing together multiple drawings. This enables you to lay one drawing on top of another to ensure they line up perfectly. Line it up as you intend the scale murals as he is illustrating line work itself, use your brush pen.

British Airways, tools. Print out Alongside commercial the image to trace the area that is to be commissions, Ollie is finding highlighted, using the same brush pen. I tried filling them with cream and red. I also tried different variations with the pupils — highlighted with red, or not highlighted at all. In the end, I felt simple was best — as it often is 12 Using tracing paper and the — and went with a flat cream fill.

STEP black Brush Pen, trace in the This variation made the eyes stand area of Cream highlights, as with the out the most, drawing you to them and line work. Remember to give the lines his face. Hence, this helps you instantly nice flow and energy, so they appear a recognise that the subject of the artwork similar style to the lines themselves.

Once all the cream areas are covered with black ink, scan it in and clean it up using the Dodge tool and the Levels command. Above This piece was commissioned by FilthyMedia for the pull-out promo poster and flyer for Audio, a nightclub in Brighton. Layer Style dialog. Using the This Layer: complete. You can variations. Then go to File W detailed line work but with a hand drawn edge? Death Goddess the Layers palette. You can adjust the contrast levels of your sketch in Photoshop to make sure it looks clean enough to be used as a reference for the line work.

Double click the Blob Brush in the tool palette menu and set it up as shown in the screenshot. Set the colour to black using the colour palette. Start filling in other details, duplicating where possible. Give the flower and fire pieces white backgrounds, scale and drop them back into the design as well. I decided to make the flowers bigger and duplicated more of them to make the design bolder. You can save time by starting with elements you can single out and duplicate, like the fire and flower elements.

Repeat the process for the outside and work in, the hair. Move the flower and fire elements off to the side and 08 STEP start outlining the top of the headpiece. You can draw half of it and flip or duplicate it. I also drew in some areas 13 When you work on the eyes, STEP that are not visible in the original sketch so that I have this full 11Unhide any of the elements if nose and mouth, take your STEP headpiece as an individual element.

Again, tackle it one part at a possible. It helps if you place photos of time and add in as much detail as your human eyes, lips and noses into your art ADD will let you!

Pale Horse also actively participates in various gallery exhibitions throughout the US and Europe. Select your line art and drawing. Paint Bucket tool. Pick a colour and Lucre Libre. Select any black shape and skateboards, guitars and even shoes. Tap Delete on Cut and paste the black line art onto a your keyboard. Make some darker shading colours and add them to your colour palette. Select the Blob Brush tool and put the finishing touches on your piece by adding shading and depth.

Dan Mumford creates a poster designed back in It also means you can for a special show by the The poster is a four-colour screen drop the opacity on one aggressive and spittle-flecked Watford print on A3, gsm card.

Dan takes element so you can focus on another area, punks Gallows, where the band played you through how he created the piece, without getting lost in a their debut album, Orchestra of Wolves, and discusses how its final form as a sea of black lines. The poster was a take screen print affected his decisions. I wanted to reflect the I used a black brush with a stroke maturing of the band and, width of around 40 pixels.

I created a new A4 canvas line-work layer. Bearing in mind this is I added a new layer below in Photoshop and began drawing some for a screen print that will be printed by and started work on the background quick black line work with the Pen tool.

I created the moon by using I did this very roughly to see if the a maximum of four — plus the white of the Ellipse tool set to Paths and laying image would work, compositionally. I created a try and use the limited Rectangle tool — with an inside stroke range of colours to new layer underneath and filled this with set to around 10pts to add some extra their fullest.

You can white, using the Paint Bucket. This layer depth. Extending the canvas further at even use more opaque represents the card and the white base inks to create more the top, I added a second thin white colours than you have that the print will be created on. This is where I at your disposal, by plan to add type about the gig later. Also, always remember that the paper itself is a colour you should use - it gives you just a little bit more room to play around with different schemes and lighting effects.

I want to use Color Range, and cut this selection out sits below this in my Layers panel, so I yellow elsewhere, but I needed to create of both grey layers — so when the grey get an accurate representation of how other elements first. I also used a Stroke layer and many more. He also works for a style to apply a thin, 2pt yellow stroke diverse range of clients, such as Nike, Adidas and Mishka.

Finally, I created Pantone references for all the layers — so when I send the file away to be printed, the printers use the correct ink. I added in my type in white using the Type tool.

Once I was happy with the type, I merged it and the black-and-white image together. To do this, all I had to do was to the printers, decided on the stock — use the Eraser tool on the yellow and choosing nice, thick gsm card, and light-grey layers, as I would the Brush waited to see if the final result matched Above top Francesca Above middle Dominion tool.

By erasing from their respective what I had intended. The use of bold replace the Pharaoh element with a add in simple shape areas to indicate colour and blurring techniques are character of your choice. The main where you will draw in extra detail by brought together with hand-rendered thing to focus on is a reflected hand.

You do not need to follow where I imagery to successfully create a very composition and a bold colour palette. The use of the eyes in this example do circles which will later become planets You will learn how to tidy up drawn help to make it more striking, so if you or any other random shapes that could line work and you will construct a use another character it might be help you make a better final drawing. The use achieve the same effect.

When you draw, make sure you always try to join your lines to create completed shapes — this allows you to use the Magic Wand tool to select areas that you want to add some colour to easily. With the piece aimed at having a psychedelic appearance, unusual perspectives like this will help create that impression.

Cut I want. The first layer is a sketch over the head. Duplicate a second layer with a blending mode of astronaut to an animal. It helps clicking and choosing Flip Horizontal.

Using is working across the artwork. Using a good a soft pencil and range of colours really tracing paper, trace helps; in my version over the main outlines yellow is the highlight colour and all the other of the photographic colours work with it. But elements. Use this time to be free with your drawing. Begin to contract the artwork as shown. I started layer group for the colour layers and with the main element: The Pharaoh.

Tidy colours. Then up the artwork using Levels Adjustments. Duplicate this and flip horizontally, then aligning the two halves. Now duplicate this layer the dots to be. I picked the mid purple and use a Gaussian Blur set to 4. I coloured them using a Colour Overlay. This can be done by double clicking on the dots layer in the layer palette. STEP But the icing on the psychedelic cake are some final effects. Save yourself out a copy of the PSD for future editing if needed, then merge all colour layers and any other layer except Above top A poster to promote the for the overlaying clouds and spikes — Croatian Garden music festival.

This just softens the linework up a little. Merge all your layers. VS has been learning 3D software brush E and begin to erase and wanted to use some of my character the blurred layer, taking care to leave illustrations as inspiration to create 3D characters. This helps to give the art a more uk. Select all, copy and paste. Also add a Gaussian Blur of two pixels to this layer. Then I went into Photoshop and made it symmetrical. The goal here with a rough, basic drawing is to allow yourself to be more creative in Illustrator as you click away.

You can use your own sketch here, or open Owl. The P. As you click away, start adding small amounts goal is to save time, thus drawing one side and perfecting of detail and exploring what works. Create a new layer to allow you to click off the drawing directly from the drawing, but allow yourself to be free — to see how progress is going.

This is a good point to step away for a few moments and get a cup of tea, so you can look at the piece with fresh eyes. Hit Delete to cover the area that you want to fill. One downside to this function etching lines nearby. This is because you never know when you may want to grab an element for a future piece — or go back to it to remove the eyeball nipples.

You can fill each half-circle separately, 10 Now for some detail. This is a good point to start STEP or fill the whole section with this element to save time. The goal is to make it look somewhat organic. Once done filling those areas, select each one and crop it into the head. If you want to experiment here, try using wider or smaller shapes, or halftone dots. Add some feathers at the sides, flowing downwards 11 STEP to tie in the body elements. Custom brasstack.

His works have typography would featured on everything from magazine work well here, too. He also sells his typefaces. To do this, place a large rectangle over the top and select Crop in the Pathfinder palette. Delete all blank fills and strokes. Lock down everything except the current piece. Section off the different components — the owl and black. Merge it together. Now create a 13 STEP the skull — as individual elements.

To do this, group new layer and place it under your line together the owl head and trace around it in white. Repeat with art. Lock the line art layer. This way, you can resize those elements more easily. Play around with some etching elements and send them to the back, behind the owl head and skull.

To detail the other wing, take the side you worked 16 To fill out the print and make STEP on, duplicate it and flip it. Try to ignore the fact that your owl now has added some organic swirls and shapes eyeballs for nipples. Eva Peaty discovers how to combine digital techniques with real-world crafts to create incredible work any of us remember the Creating on the computer alone M first time we enhanced a simple sketch with coloured means we no longer need a large physical space and a vast collection pastels, or realised that the application of expensive materials.

However, the of paint could add a whole new downside of this approach is work, dimension to a collage made out of while technically perfect, can also newspaper or magazine clippings. Their process allows for speedier experimentation and execution, but the resulting works of art still retain an organic element. He says that although he has challenging.

That is half the fun of images, taking inspiration from late American artist Robert Rauschenberg. Elements were drawn with fineliner pens, then vectorised in Illustrator, and coloured in Photoshop. One elements that, by their very nature, element may change position a couple are separated from each other. Dawn Gardner bit. Russ admits frames in her visual interpretations of segments of instrumental music. Sam Wolfe samwolfeconnelly.

Ben aka Ben The Illustrator, Peter then reinterpreted the bentheillustrator. You and they struck up a conversation learn a lot about how others work on Twitter. Mountain, Owl, Seals and Tree. Right Bird and Bear. For example, using the problem is to work in stages. When a client is parts come together and work as a demanding stuff, you pick your feet unified whole can also be challenging, up and get going. So, inevitably, my style fell into the — but then he photographs and digitally world of mixed media.

As my strongly on the sketches, Owen usually work progressed, I experiments still during the assembly stage, wanted to make sure I playing with the forms and composition. Finally, Owen photographs the finished piece with his Nikon D camera and edits it in Photoshop.

Also the characters is simple and takes on a symmetrical form. Set your stroke and fill to default Custom Shape tool to draw out the best friend: this is the best way to get D to begin tracing over your sketch foundation shapes and apply the merge absolute symmetry within your work. Layers palette easier. Refer back to your sketches or Experiment to see what new shapes reference images for ideas for shapes you come up with.

A dialog will pop up and give you some importing options. Make sure you choose the correct source to import from and double-check that the dimensions of the image match the dimensions 08 Now apply your chosen colours to the illustration. STEP Make sure that the right colours are in the right place: this is very important — placing colours badly can break the flow of the illustration.

Use lighter colours to highlight, darker colours for the base shapes and midtone colours to add depth and feel. You can find free textures on the Internet but I recommend forming your own personal stock library of textures and grains to call upon when needed — such as this one. Different modes will have different effects, so raise theartistsguide. The seemingly normal everyday things you I do with that? Experiment until you 07 In this project I created a 8. If you make x inch frame using my 04 Open your scanned image a mistake just click edge.

Rotate , and positioned it along the image so you blow out details darkening sides, to form the edged frame. Use the the darks and lightening the lights until Clone Stamp tool S , to alter some of you have a posterised look as shown the detail on three of the sides, so it in the image.

For this resource I wanted a high-contrast edge with almost no alpha pixels. Then one day I noticed they created a cool edge when broken, so I started saving them. Leave some small artifacts into a creative and unique design tool. I find in your image, so that it looks more that breaking them slowly creates more authentic and distressed. Note the degraded edge with are downloadable from scanning them easier.

They can also offer an element of surprise 3D masterpieces that breath new life into your theartistsguide. If you create artwork start by planning a dummy version of digitally with a graphics tablet then you your pop up first. Begin with a piece of can go straight to using that. They will need tabs STEP to stand up, which will be glued later to your base. Select the Line tool and set it to a width of 10px.

Draw two simple tab shapes at the base of your artwork. Holding down Shift while you click and drag will snap the line horizontally and diagonally. Look for natural horizons within your artwork. With the the centre fold. This will place a guide in the centre of your canvas, This will separate your selection onto a new layer. Repeat that from which all your pops will function. Use the grid on a cutting mat to find perfect horizontal and vertical score lines. A rubber-based metal ruler also reduces the risk of your artwork slipping as you cut.

This is where the pop folds away from you. From the centre fold guide, draw a diagonal line on a new layer. Copy the layer twice and position the lines underneath at equal distances. Conceal the tabs by gluing them away from you behind the artwork. Copy that layer and so they are top-heavy in the canvas. Allow a little time for the glue to dry.

Link both layers and folded in half. At this stage you may need to trim and rework the shapes of your pops if they are too big. Other elements from the original artwork have also been added to the base. Measure with the wrong side of a scalpel blade. STEP the width of the artwork to find The grid on the cutting mat is useful the centre and create a vertical score for lining up your artwork to find an line. This is best done by pressing gently accurate vertical centre line.

Make sure that your dummy 11 STEP folds and works properly, so that the pops do not catch on one another. Most traditional pop-up book PaPerweight spreads protect the pops within the dimensions of the page. For this pop-up spread on the nature of your artwork, so the I used a gsm artwork spills from the edges of the A4 satin photo-inkjet paper.

It keeps pop-ups 08 Print out your base. It will need the base along the centre line and fold pages when they are closed. Experiment STEP robust and it also gives to move freely when folded so it a couple of times so it finds its natural with the sizes and shapes of your pops a high quality finish that the whole pop-up functions well.

Score resting position. Using drawing, collage and digital ink, Simon is inspired by play, travel and film soundtracks, creating a world of colourful explosions and childlike expressions. He has to finish the artwork and re-draw in worked for clients such as Macmillan the gaps that have been left behind.

In the Layers able to see through and beyond each panel change the blending mode to Multiply so that your glue pop as it sits on the base.

Print out the base. Leaving a small white edge will enhance the definition of your pops when you glue them in place later. Score the centre line resting position. This helps to release any unwanted tension and the tabs. Experiment further with different score lines or maybe holes in the artwork that you can see through.

There are so many possibilities! He draws with a range of regular pencils from montage techniques. He then singer Beth Ditto for an editorial Having followed this tutorial, you brings the results into Photoshop, illustration.

When these drawings sit alongside digital components, the overall effect pops right out. And as before, I created an outline as well as a solid form. This means that 01 Before you start, remember to consider how your drawings will be the shape is more flexible and easily STEP manipulated once scanned.

You must ensure that what you produce is selected when passing certain elements versatile enough for the purposes you have in mind. I work from a range of reference photos of my subject.

I start by drawing just I also experimented with a the face, which I scan into Photoshop you should use a resolution of at least dpi photograph of glitter over the lips, for this key element. The hair and other elements will be drawn individually and using a Lighten blending mode at saved in separate layers in Photoshop. I often 04 clipping mask layer STEP pencil, putting this in its own layer. I gave the the contrast and creating an outline of it.

These sit on their own This effect was used elsewhere to add element together. A graduate in illustration of Kingston University, Paul has also applied his techniques to skin, working as a tattoo artist while still living in the UK. He is fascinated by Once the microphone had popular culture, and his mark-making 09 STEP methods are witty and often boast colour applied, I duplicated 12 The necklace in the illustration STEP it to produce a pair that I arranged on was inspired by lyrics from unique twists.

Paul has been freelance since his move to France. I also overlaid a gold leaf hair. I then added a duplicate layer of texture — created by scanning an actual the original hair over the microphones, piece of gold leaf — and added some plus reflections to lend the work a lighting effects as with the microphones.

I played with layer effects and opacity until I had the look I wanted. With all the components that you can invert the selection where together, I could also make any tweaks necessary, erasing or masking parts of that I felt the composition needed. To finalise the portrait, I linked all the layers together and saved out the Above top GaGa self-initiated.

So what is the secret of convincing portraiture, whether done digitally or in traditional media or a mixture of the two? And how important is it that depictions be faithful to the subject, or is there a great deal of latitude in terms of personal interpretation?

We talked to a group of leading illustrators to find out. Predictably, there was no outright consensus, though everyone offered useful individual insights into how they produce memorable work. When drawing or painting a face, Finnish illustrator Anje Jager anjejager. Above A club poster by Miika Saksi. These questions matter whether smoothness of skin.

I start 0. He starts out by taking the skin, and the shape of the face. His clients include the BBC and many leading newspapers and magazines. To generate ideas, Field will often start by juxtaposing different bits of reference material or pre-existing sketches and textures. I also do lots of very straightforward naturalistic sketches from my own reference photos or, where possible, from direct observation.

Often I also digitally combine several drawn elements or background textures. Asking before you start can save a lot of trouble later on. This helps me important to the development and to distinguish the lines from the image delivery of his art. While retracing with the Pen Working mainly from photos for tool, I work in outline view to have the his commercial art, he acknowledges background image always visible. The x cm painting sold almost immediately when first exhibited.

A gave even more name for a mythological lady. So the skin blue and reddish reference are visible. Her portraits begin with her sketching the composition, she says. I take a hand from one image, a face from another, and the hair from somewhere else.

I basically create a new picture that resembles the one I have in mind. I make my drawing based on the montage I made.

I then scan the finished drawing and join the parts together. In some cases I merge patterns and structures from the original photograph to the drawing. My goal, though, is always to keep the feeling that the picture is completely hand-drawn. Minni advises that you spend time right Two pieces explains. Getting with each other. I use mainly Photoshop and Corel Painter.

Roses bring a particular feeling of luxury and passion. I try to keep it so there is no dead off the nose slightly better. Having as it will accentuate the chin and draw from observation and you see one eyebrow higher than the other neck. It sounds simple, yet so many Fascinator and Persephone by interested in the note of it in your head. Which features you exaggerate, and by how much, determines whether you stay on the right side of cheesy, he says.

For his part, he usually chooses to accentuate the girth of the neck or the shape of the face. Illustrator Sam Kerr bit. A prime example is his depiction for GQ magazine of musician Jack White playing a cloud-and-lightning guitar top right. Peter will also often work by symmetrical, and so on.

It Stanley Chow. Your extended hourglass shape can look good in almost any clothing. The Trapezoid: You have a broad chest and shoulders, and a somewhat narrow waist and hips. As your upper and lower body are in balance, you can wear nearly any style of clothing. The Inverted Triangle: You have a broad chest and shoulders, and a very narrow waist and hips.

Wearing straight cut pants rather than skinny styles will help create balance between your top and bottom halves. Avoid wearing jackets with shoulder pads or wide necklines, as it will make your upper half seem even broader. The Rectangle: Your shoulders are the same width as your waist and hips. Structured blazers and jackets will help create a wider upper body, while narrowing your waist. Avoid wearing sleeveless shirts, as they will emphasize the rectangular shape of your body.

The Triangle: Your chest and shoulders are narrower than your waist and hips, so your lower half appears wider than your upper body. Try to wear fitted clothing — baggy outfits will make you appear larger than you are.

Create a strong shoulder with structured jackets. Avoid wearing skinny pants, as they will make your hips appear wider. The Oval: The widest part of your body is your stomach. Wear vertical stripes to help you appear taller and thinner. Avoid wearing bright colored belts, as they will draw attention to your stomach. Take a look at the inside of your forearm right above your wrist in natural daylight, and try to identify the undertones of your skin. If you have bluish veins and your undertones seem pink or blue you have cool skin.

If your veins appear green and your skin has yellow undertones, you have warm skin. Use that information and your natural hair color to help you determine what season you are: Spring: You have warm skin, and light colored hair. You look best in pale, soft colors such as pastels and ivory. Avoid wearing dark or dull colors. Summer: You have cool skin, with light coloured hair. You look best in pale, cool colors such as light blue and white. Avoid wearing dark or bright colors, such as black and red.

Fall: You have warm skin, and dark coloured hair. You look best in warm, rich colors such as browns, oranges, and greens. Avoid wearing pastel colors. Winter: You have cool skin, and dark coloured hair.

You look best in rich colors such as blue, red, and hot pink. Avoid wearing earth tones and pastels. Every fashion rule is meant to be broken. If a color or item of clothing makes you feel good about yourself, wear it!

Designers may follow these steps for each piece, or single clothing item, that they create, or they may use them to design an entire collection a collection of multiple garments, usually centered on a theme, color scheme, fabric, or style.

Determine the Client: Who are you designing this piece or collection for? What will their budget be? Writing down this client information will help you decide what style of clothing to design, as well as what types of fabric to use. If you are designing for a specific person, you will need to get their body measurements to ensure a proper fit.

Each sketch will give you ideas for new sketches, and inspire new pieces. Look for inspiration in the world around you, in your own closet, and from other designers.

This is a piece of paper or cardboard that you can glue fabric samples, sketches, and color ideas to. The purpose of a mood and color board is to help you get a feel for how each piece will look and feel when it is completed. Pattern Making: When you have made a comprehensive plan of how each piece will look and what materials you will use, you can begin making a pattern.

Your pattern will allow you to make multiple copies of a garment if you desire. For more information, see Unit 4. Muslin Fit: Although making a pattern is a great place to start clothing construction, you never truly know how a garment will look or fit until it is made and sewn out of fabric. This allows designers to see if any alterations or changes need to be made to the pattern without wasting valuable fabric.

Spec Sheets: A spec sheet lists important information and instructions for the creation of each garment. It may specify what types of stitches are used and where , what fabric is best suited for the garment, and specific measurements.

A spec sheet is written mainly as a reference for yourself, and so that other people can create garments using your patterns. Final Garment Creation: Once a muslin-fit has been done and any necessary changes have been made to a pattern, you can begin constructing the final version of your garment. Following the steps in the design process will help reduce the risk of making errors and wasting valuable fabric, materials, or time.

Sketching As you begin thinking about what your garment s will look like, you will need to create some sketches. Some designers choose to use pre-drawn human figures called croquis to help them begin the sketching process. Others choose to draw their figures free hand.

You can decide which method works best for you, or consider using some form of design technology as outlined below. Consider sketching what a garment will look like from the front, back, and sides.

Sketches are not meant to be perfect. What you believe is imperfect today may look very different to you in a week or two. Even if the design never becomes a completed garment, it may eventually inspire an entirely different design! Keep a large scrapbook of all of your sketches to refer back to.

For pre-drawn human figures to help you sketch see the Fashion and Style Activity Guide. Today, you have access to technology that will allow you to practice your design, accessorizing and sketching skills on your computer. Blank Label — www. Designers Nexus — www. Polyvore — www. There is also an option to share your outfits with other Polyvore users for feedback.

Single Pieces and Fashion Collections Depending on what your design goals are, you may be working on designing a single garment, or an entire collection. If you are just getting started as a designer, you will likely begin by creating individual pieces that you or your friends can wear. A collection is a group of multiple garments or outfits; usually centered on a theme, color scheme, fabric, or style.

Commonly, designers create a fall and a spring collection and host runways shows for each. Mood and Colour Boards The creation of mood and color boards is an important step in the design process.

Sketches are good for showing the finished silhouette of a piece, but it is difficult to translate fabric color, texture and weight with a drawing. Sketches, fabrics, buttons, images of accessories or inspiration photos can all be placed onto a mood and color board.

A fabric that you love may not match with other fabrics or colors that you have chosen, or may not be a suitable texture or weight to sew with. It will also affect how easily you are able to cut and sew the garment. When purchasing fabric, there are three factors to take into consideration: Fibre: Fabrics can be made from natural fibres cotton, wool, flax, hemp, silk or manufactured fibres polyester, spandex, nylon, rayon. Most fabrics are made from a mixture of two or more fibre sources.

The fabrics in the following chart are commonly used in garment creation. Construction: There are three basic types of fabric construction: knit, woven, and non- woven. Knit fabrics are made in a way similar to the way your grandmother might knit a scarf — yarns are looped in various ways, usually resulting in a fabric that stretches.

Knit fabrics will not fray when cut. Woven fabrics are made by weaving yarns into a pattern, which results in a fabric with little or no stretch. Woven fabrics will fray when cut if the edges are not finished. Non-woven fabrics are any fabrics that are not created by knitting or weaving such as felt. Weight: When purchasing fabric for sewing garments, be aware of the fabric weight. You can also determine weight by feeling the fabric between your fingers.

Heavy-weight fabrics will feel thicker and heavier than light-weight fabrics. Lighter fabrics are fine for shirts and dresses, but heavy fabrics are better for pants, skirts and jackets. The chart on the following pages shows the fabrics commonly used in garment construction. Selvage is the factory-finished edge of a fabric. It should be a perfectly straight line. Also called the warp. The crosswise grain of the fabric runs perpendicular to the selvage edge, and has some stretch.

Also called the weft or straight of grain. The bias runs at a 45 angle to the selvage edge, and has the most amount of stretch. Weave refers to how tightly the threads that make up the fabric are held together. You should select fabric with a medium density weave, as it will hold your padding in place while still being easy to sew.

When you hold medium density weave fabric up to a light, you should be able to see light, but not shapes through the fabric. If you have a serger, you will find it much easier to use on knits than a traditional sewing machine. If you are using a sewing machine, consider using a ballpoint needle and a walking foot. The ballpoint needle has a slightly rounded tip that will slip through the fabric more easily than a regular needle.

A walking foot moves both the top and bottom layers of fabric, which will help you avoid stretching out the fabric and creating puckers as you sew. Your sewing machine should have a stretch stitch setting it looks like a crooked zigzag , which will allow the seam to stretch with your fabric.

Remember to always to a few test stitches on scraps of your fabric before you begin! Woven Fabrics: Woven fabrics do not normally have any stretch, and often fray easily. Leave yourself some extra seam allowance to account for the fraying that will occur. You may want to use a serger to finish the edges of your woven fabric to prevent fraying from occurring before you begin to sew.

Regular sewing machine needles can be used on woven fabrics. Leather: Sewing leather with a machine requires a special leather-sewing needle and thread made of non-natural fibres. A walking foot will also help keep the leather moving smoothly through your sewing machine. Remember that leather and suede or man-made leather alternatives are not machine washable!

Faux-leather may also require a leather-sewing needle and walking foot, depending on the weight of the fabric. Using them to cut paper will dull them and make them unusable. Their small size makes it easy to trim loose threads. They are usually too dull to cut fabric. It is used to carefully take out stitching errors. The size you use will depend on your project and preferences.

An ironing board provides a safe surface to iron on. It also can help you draw a straight line if needed. Pincushions come in many shapes and sizes. Tabletop pincushions sit on your table, while wrist pincushions are attached to your wrist like a watch.

They are very useful, but very expensive. Useful for finishing the edges of non-fraying fabrics, such as fleece. However, each sewing machine has similar components although they may be in different locations on each machine. These are the basic parts of a sewing machine that you will need to know as you begin sewing garments. Thread Take-Up Lever 9. Stitch Guidelines 2. Thread Direction Pin Needle Screw 3. Bobbin Winding Spool Needle 4.

Feed Dogs 5. Reverse Stitch Control Presser Foot 6. Thread Guide Presser Foot Screw 7. Take-Up Lever Hand Wheel 8. Throat Plate When sewing stretchy knits or leathers, a walking presser foot can make the job much easier. It has extra teeth to help the feed dogs move thick layers of fabric through the machine.

A zipper foot is much narrower than a regular presser foot. This allows you to sew very close to the teeth of a zipper. A button presser foot is used to sew buttonholes that are the perfect size for the buttons that you are using on a garment. Each sewing machine has a specific buttonhole setting — see your manual for details. When sewing garments, you will need to use the stitch guidelines located on the throat plate to help you sew in a straight line.

However, if you would like a wider or narrower seam, use a different stitch guideline. Sergers A serger, sometimes referred to as an overlock machine, is a type of sewing machine that allows you to sew, stitch and cut fabric in a single step. There are four types of sergers available: 2-thread, 3-thread, 4-thread, and 5-thread, although many sergers allow you to switch between 2, 3 and 4 threads. The number of threads and needles you use will allow you to create different types of stitches with your machine.

This is the most common type of overlock stitch, and uses one needle. Like sewing machines, every brand and style of serger is different — the only way to truly get to know your personal machine is to read the instruction manual.

These are the basic parts of a serger that you will need to know as you begin sewing garments: 1. Telescoping Thread Guide 2. Needle Thread Tensions 3.

Spool Rod 4. Upper Looper Tension 5. Lower Looper Tension 6. Needles 7. Feed Dogs 8. Upper Knife 9. Upper Looper Lower Looper Lower Knife Hand Wheel Using a serger to finish interior seams will give a professionally manufactured look to garments.

Sergers cannot be used in place of sewing machines, but they will make your garments stronger, give a professional look.

However, sergers are notoriously difficult to thread; if you are planning on purchasing one, spend some time using different machines to see which one works best for you. Body Measurements and Parts of the Body Taking accurate measurements of your body is a two-person job: one person to measure, and one to be measured.

The following are general body measurements that should be taken before you begin making a pattern. The following measurements are the same for boys and girls, other than the bust measurements. Bust — The fullest part of the bust or chest make sure you keep your measuring tape level. Waist — 1 inch above the navel, or the narrowest part of your upper body. Hip — The fullest part of the lower body. For an adult, the hip is usually 9 inches below the waistline.

Front Bodice 4. Shoulder — From the base of the neck to the tip of the shoulder. Neck — Around the base of the neck. Back Bodice 9. Centre Back Neck — Neck to waist find the large bone at the base of your neck to start your measurement from.

Centre Back Shoulder — From the base of the neck at shoulder point to the waist. Lower Torso Hip Depth — From the centre front waist point to the fullest part of the lower body. Centre Front Waist to Floor — From the centre front waist to the floor.

Centre Front Waist to Knee — From the centre front waist to the center of the knee. Back — From bust line to waist. Centre Back Waist to Floor — From the centre back waist to the floor. Arm Upper Arm — The circumference of the upper arm. Arm Length — From shoulder to wrist, measured with arm slightly bent. Collar: A piece of fabric surrounding the neck opening of a shirt, dress, or coat. There are many different types and styles of collars Crotch: The point at which two pant legs meet.

Cuff: The wristband on a sleeve: a rolled up bottom hem of a pant leg. Facing: An interior lining used to add strength or shape to a piece of a garment. Fasteners: Any method of keeping a garment on the body. Buttons, clasps, drawstrings, elastics, snaps and zippers are all fasteners. Button: A solid object often circular attached to one side of a garment, and inserted through a buttonhole on the other side. Clasp: A device with interlocking parts.

Drawstring: A string or tie that tightens to close an opening. Elastic: A stretchy piece of fabric. Snaps: Two interlocking pieces of metal or plastic that snap together. Fly: The cloth overlaps at the crotch front of a pair of pants; usually covers a zipper or buttons.

Gusset: A triangular expansion piece inserted into a crotch, shoulder or underarm seam. Hemline: The bottom of a skirt, pants, jacket, or shirt.

Lapel: A turned back fold on the front of a shirt or jacket; attached to collar. Legs: A tube of material that runs from hip to ankle. Neckline: The style of opening at the top or neck of a garment. Placket: A slit at the top of a garment such as pants, skirt or shirt that helps you to get the garment on and off.

Pocket: A small pouch sewn into or onto a garment. Seat: The material across the buttocks. A flared version of a tea-length skirt is often called ballerina length. Sleeve: Part of a garment covering all or a portion of the arm from wrist to shoulder. Train: Material trailing behind the bottom of a gown. Also called the V- shape waistline. The purpose of a pattern is to ensure that a garment fits and is sewn correctly.

As a relatively new clothing designer and creator, most garments that you sew will require a pattern. However, not all patterns must be made of paper. If there is an item of clothing that you love but it is worn out, consider ripping it apart at the seams and using the pieces as a pattern! Labels: 10 piece travel set , 10 piece winter travel set , 's , coat , drawing , fashion croquis , fashion illustration , finished projects , sewing , vintage , winter wardrobe.

Sheryll April 6, at PM. Unknown April 7, at AM. Annabelle April 9, at AM. Unknown April 11, at PM. Newer Post Older Post Home. Subscribe to: Post Comments Atom. The regular foot worked best for this, and I used a zigzag stitch just wide enough to hold the band in place. Here I tried different options for attaching the interlining to the shell fabric This lining really makes me happy!