I had a lot of different ideas about how to colors last week’s paper doll. I thought about a traditional princess scheme which would, of course, involve a great deal of pink. I also thought about something in pale blues and teals.
In the end though, I wanted to try to color these dresses as more of a “dark princess” look for the printable paper doll. Therefore I went with black and lavender, traditional mourning colors, so she’s a bit gothic. I accented the dresses with a set of white roses and a set of red roses. Most of my color schemes are a bit more diverse in their color selection. For this one, I stuck with a narrow selection of shades intended to keep things fairly simple.
I confess that coloring these gowns was quite fast thanks to the large swatches of one color.
I gave our princess black finger nails and black toenails to emphasis the slightly “gothic” feel of the princesses gowns. The gothic elements are also apparent in her bleached hair. This is not my typical princess, at least not the typical princess I keep in my head.
Julie, of Paper Doll School, and I are hosting a paper doll round robin with a beautiful base doll Julie created. Read more about it and join us, if you like. The deadline is Saturday the 24th at 12pm EST. 🙂
I make a lot of tea. I don’t always finish my tea, but there is something about heating up water in a kettle, filling my cup with water, adding a little honey and then slowly stirring it. So, I settled down last night with my cup of hot tea next to my usual spot on the couch and I tried to think about what to write tonight about this set of paper doll outfits.
And I got nothing.
Seriously. Crickets.
I designed these a while ago, but I can’t recall when. I colored them with a sea-side ocean inspired color scheme, because well… it is full of colors I like. Teals and blues and celadon greens.
And that’s really all I got.
I realized, as I sit here trying to think of what to write, that maybe that is okay. Maybe it is okay that these paper doll outfits are just outfits.
Not everything has to have an epic story. These are just some nice paper doll clothes. They expand the collection for the Ms. Mannequins. That’s all.
I hope everyone enjoys them. Prints them. Plays with them or not… up to you all.
And now I’m going to finish my tea and go to bed. And if you’re thinking, but why is this going up on Thursday? It is because I will be traveling on Friday and will be without access to any sort of computer until late late in the evening, so I decided to post a day early. Breaking my own rules already!
One of my good friends has nicknamed this paper doll, “Beardy Swordsman!”. I have decided to go with the poll name winner and call him Mikhail. Personally, I was rooting for Mikhail to win and that was my vote. I feel a little guilty because Mikhail won by just one vote and that might have been me. Still, I’m allowed to vote in my own polls, right? I didn’t vote more than once…
I decided to make a knight paper doll as the first of the Mikhail paper dolls, not out of any particularly grand plan, but because I think a lot about the sort of stories you might want to play out with the paper dolls. Back when I was a kid and I played with paper dolls, the narrative provided by the paper doll book rarely worked out as written. With a wedding set, I might decide I actually liked the Maid of Honor paper doll better than the Bride paper doll and she was going to run off with the Groom and the Best Man was actually the older brother of the….
Well, you get the idea.
So, when I create paper dolls I think about the types of stories you might want to tell. Since every doll of a series can share outfits with every other doll of the same series, Mikhail and Marcus can exchange clothes. Now along with being airship mechanics or casual dates, they can also be knights who rescue princesses or knights who get lost in swamps and need to be rescued themselves.
Several years ago, I met a young lady who was four (I think) and who very much wanted to be a knight. I thought to myself, “Good for you.” I drew a knight paper doll for her, but every time I draw a knight, I think of that young lady.
I have done a lot of dark haired guys, so I decided to make Mikhail a blond. Frankly, coloring armor is fairly dull. It is made of steel. It is going to be silver. There’s just not a lot of variability in that. I went with a lot of gold accents on the armor, because I have decided that Mikhail is a noble night and can afford to spend a fair bit of cash on his armor. Plus it broke up the grey.
In a totally unrelated note, as many of you know, I am currently conducting a survey. (At this point, my daily readers are like… Can she shut up about the Survey already?) I would ask that if you haven’t filled it out, please do so. It’s about developing products to open a Paper Thin Personas store in the next year. It should only take about 15 minutes and would be uber-helpful and I’ll send you a thank you paper doll if you leave me your email at the end. (The emails are deleted out of the survey results immediately to keep things as anonymous as humanly possible. So, don’t worry about that.)
Thanks again to everyone whose already done the survey! I’ve learned a lot from everyone’s comments and responses. Maybe at the end, I’ll do a post about some of the stuff I learned? I don’t know… does that violate the principle of an anonymous survey? Thoughts from my readers?
Today’s paper doll is named Shayna. Shayna is a Yiddish name that means “beautiful”. I also liked it, because it was close to Shauna which was the name of my best friend in college and, also, one of my roommates for several years. Shauna, it should be noted, looked nothing like my paper doll Shayna. I don’t really draw paper dolls of my friends, even though I do sometimes name them after them.
Shayna is yet another paper doll with micro-braids. I would apologize for this, but the truth is that I really like how micro-braids look and they are fun to draw. Shayna is the same skin tone as Kira another one of the Ms. Mannequin paper dolls, so they can share shoes.
I’m sure Kira is grateful, because she doesn’t have any flats and might want some. The bases of the paper doll are the same color, so if there is ever confusion about who can share with each other, I hope this clears it up.
As always with paper doll skin-tones, IÂ really do like this warm soft brown color. I think it is rich and natural looking. Plus, it is a shade which still prints beautifully on my home printer. I love my darkest shade of brown, but it doesn’t have much contrast with the black line-work. You can check out my skin-tone pallet if you want to see the commonest eleven skin-tone colors are. I’m not totally pleased with some of those colors, but I also haven’t had a chance to refine the pallet.
I haven’t really got a lot else to say about Shayna. I think she’s cute. She’s getting to me closer to my 10 Ms. Mannequin paper doll posts in 2015 goal. That always makes me happy.
As we move towards 2016, there are going to be lots of changes to the blog.
First of all, the blog is moving to a fixed schedule with posts on Monday, Friday and an erratic posts on Wednesday. This is actually the schedule I have had it on for the last few weeks. There will always be a paper doll on Monday and Friday. Wednesdays will be everything from historical costume book reviews to interviews to sketchbook content. All sorts of things I’d like to do with that day of the week. And, once in a while, probably an extra paper doll or two.
In the meantime, if you have fifteen minutes and don’t mind spending it answering a thrilling survey… I am currently conducting a survey of my readers. If you have already taken the time to answer, THANK YOU! If you haven’t please consider it.
If you have any questions, concerns or thoughts you’d like to share with me- Survey or otherwise- please feel free to drop me an email (paperthinpersonas@gmail.com) or post a comment. I might not respond to every comment, but I try to answer all the ones that ask questions.
In truth, we know very little about what Viking women wore, so that makes drawing a Viking paper doll sorta exciting (and scary). Unlike the 10th century Anglo-Saxons, the Vikings did not have a manuscript culture. Their art was generally metal work or stone carving and highly stylized. Making things more rather than less complicated, textiles rot extremely quickly in soil and those which remain in tact are often saved by their proximity to other materials such as metal, while metal breaks down it releases salts that protect the textile.
This means that what remains we have of Viking garments are fragmentary at best. While working on my Viking paper doll, I did my research, as always, and then made decisions based on my understanding of Viking garments. My understanding isn’t perfect. I am not an archaeologist, nor do I study Viking cultures extensively. My post Wednesday, Viking Women’s Dress in the 10th Century  covers my sources and what I understand about Viking garments.
Though I came away from my research with the conclusion that there is more supposition than certainty in Viking dress research, I couldn’t be more pleased by how my printable paper doll came out. Her two apron-dresses or smokkrs over shirts were both designed based on the work of some excellent scholars. I chose a closed smokkr, because I agree with Ewing’s and Geijer’s views on the shape of the smokkr. I added an apron on one, based on the work of Bau and Ewing. To the other, I added pleats based on the reconstruction of a smokkr by Hilde Thunem. She has a key, a cup, a comb and a small knife. From the brooches on her left smokkr hang a pair of scissors, a small knife and a needle case.
Her shoes are based on finds at Viking York and her stockings and garters are based on the work of Ewing who argues that Viking men wore garters. I have no reason to believe if men were wearing them than women weren’t. Besides, Scandinavia is rather chilly to be wandering around bare legged.
When selecting colors, I tried to be aware of what colors were known to be used by Vikings. There were several references to brown twills in the articles I read (sources here) and the Kostup find is known to have been blue. Her brown smokkr, or apron-dress, has different colored straps, because linen loops were sometimes used on wool smokkrs. Linen, unlike wool, doesn’t take dye very well. I wanted to make a nod to that practice. Both the serks or shirts, I left undyed in lighter colors. One shirt is pleated, as is found in many Birka graves, and one is unpleated. The paper doll has a hair covering as referenced in Ewing’s book, Viking Clothing.
I made my Viking paper doll blond really only because when I think of Vikings, I think of blonds. Perhaps an unfair assumption, but there you go.
As with my Anglo-Saxon paper doll of the same century, I strongly recommend reading my little article and then reading my sources. I would also caution that most of the research on Vikings is not published in English. Until more of the articles are translated into English, I did the best I could with what sources were readily available.
I know people have been waiting on this printable paper doll, so I hope the wait was worth it. I certainly am nothing but pleased with how she came out.
As always, if you like the paper dolls and want to support the blog than check out my Patreon. 🙂
I am so excited about this week… there are going to be a Vikings on Friday and a post about historical Viking dress on Wednesday and, of course, today we have an alien paper doll in color. What could be more fun than aliens and Vikings? (Maybe pirates and aliens and vikings, but lets not be greedy.)
Anyway, I am super-pleased to be showing off this little alien. I choose blue for her skin as I have a soft place in my heart for blue skinned aliens. I don’t know why. It is always the first color that comes to mind. It does occur to me though, I have done another blue skinned alien recently.
When you are dealing with a skin-tones not in the range of human normal, than the skin-tone does not act as a neutral. Therefore, the paper dolls skin-tone becomes part of the color palette in a way that is rarely something I worry about. So, I wanted bright cheerful colors that would accent and no compete with my little alien’s blue skin.
That was why I settled on a magenta, line green, dark teal and bright yellow color palette.
I went back and forth about how to color the gowns. My first thought was that they were all one color. Later, I decided it would be more interesting to make them multicolored. You can see the results of my multicolored experimentation below.
Both jump-suit were colored in the same color scheme as the dresses and I made sure the boots would match the jumpsuits. I do admit that while I do think of my alien was a leader in war and a diplomat, I’m not sure going to war in platform boots makes a lot of sense.
Maybe in space, your foot wear doesn’t matter. After all, gravity might not be around, so you could wear whatever shoes you want? Maybe? I really don’t know, but I do love me a good pair of platform boots.
Late 18th Century gowns before the waist begin to rise at the turn of the century are often defined by simpler lines. You can see in some of them the beginings of the aesthetic and gave rise to the Greek inspired looks of the Empire period in France and the Regency period in England.
The middle dress is based on a robe Ă l’anglaise from the Kyoto Costume Institute that is dated to the 1780s. I have seen very few other examples of this style of gown in museums, though I would be curious to know how wide spread the style was. The belt is particularly distinct in these gowns and I can only recall having seen one other.
On the far right,there is a gaulle, or chemise a la reine. This radical style was introduced by Marie Antoinette in the early 1780s. I based my version of this iconic garment off a portrait of Antoine-Laurent Lavoisier and His Wife from 1788. To understand the shock such a garment would have induced in the 18th century, consider the reaction people might have if the First Lady of the US suddenly started talking around in her bra and panties in public, rather than chic clothing. Never the less, as is often the case with fashion, the simple lines of the gown caught on and it wasn’t long before all sorts of women were being painted in elegant and simple versions of the chemise a la reine. In fact, this gown could be seen as a direct predecessor to the simpler styles of the Regency and Empire periods. Very few of these gowns seem to have survived from the 18th century, but here is one example from the Manchester Art Gallery.
The other hat is what was called a Calash. Calashes were a type of bonnet that was boned and could fold down for storage (and also was tall enough to get over the crazy high hairstyles of the century.) Calashes can be found easily in museums. Here are a few examples of them- one, two, three from the Met and one from the MFA in Boston. The Calash isn’t just an 18th century thing, either, these bonnets can be found in the 19th century as well.
The shoes are fairly standard 18th century style and aren’t based on anything specifically. I just thought my three paper dolls might need another pair of shoes.
The color selections were all dictated by the original garments colors, except for the caraco jacket ensemble on the left. The one I wanted to do in warm autumnal colors since the chemise a la reine always seems a summer or spring sort of style to me.
Hope is based on the styles at the end of the 18th century. So, something major happened around the 1789 in France. It was, for those who weren’t asleep in high school history class, the French Revolution. To say that “everthing changed” wouldn’t be an understatement and the ripples of the events in France spread across Europe in dramatic ways. It is tempting when looking at the end of the 18th century to simply assume that after 1789 everyone just jumped into Empire styles and that was the end of it, but the reality is that there was a very slow evolution to the high waisted gowns we think of as “empire” or “Regency” dress.
So, I was less interested in worrying about the Empire look and much more interested in the every transitional styles that are easily forgotten and often ignored.
This all brings us rather neatly to Hope. Hope is our paper doll model for the later part of the 1700s. Her dresses will never get up the high waisted styles that characterized the transition into Empire. Rather, I think of her as being a woman of means right before everything gets radicalized. And, for her sake, let us assume she lives in England which was always behind on the fashions a bit anyway and a much safer place to be than France at the end of the 18th century. They don’t call it the Reign of Terror for nothing, after all.
Hope’s hair is done up in a style known as coiffure Ă l’enfant. This was a style popularized by Marie-Antoinette in the early 1780s. The style is a frizzy halo of hair with several longer strands curled, braided or left straight. Here is a portrait that shows off the hair style from the Met and here is a fashion plate featuring it from the V&A. I have to confess that I am not totally pleased with her hair. I fear that it looks a little bit too “mad scientist” for my comfort.
Moving away from her hair for a moment, Hope has undergarments, of course, and then a gown known as a Redingote. Redingote’s started their lives as actual riding coats, but eventually transformed into women’s gowns which were coat like and then cut away to reveal the petticoat underneath. The word “redingote” is believed to be a French transliteration of the English term “riding coat”. Hope’s redingote was based on this gown from LACMA circa 1790. The term “redingote” sticks around into the early 20th century as a term of long coats.
I think that’s all the sources I need to list for Hope. I might have forgotten something, but I think that’s everything. Next Friday, there will be the last set of outfits for the 18th Century Pixie Series all from the later part of the 18th century.
Okay, so this is the last one, but I did have fun with this little foray into dance clothes for the moment. Now that I have done these, I feel like I should do some tap dance clothes or something.
Anyhow, today’s Mia ballet set is in color. While Monica is the white swan from Swan Lake, Mia is the Black Swan for Swan Lake. Of course, traditionally, these parts are danced by the same dancer, but I thought it would be more fun to break up the two tutus across the sets.
Her Giselle costume is from the second act and therefore had to be white. After the character Giselle dies, the whole second act of the ballet is done in white costumes. It is sometimes called the “White Act” for this reason. I couldn’t exactly make it purple.
Don Quixote costumes are often based on Spanish flamingo dresses and this one is sort of in that vein. I settled on a golden bodice, black tutu and red roses. I’m not entirely pleased with how it came out, actually. I do think this tutu could also be for the Nutcracker’s Spanish Chocolate dance. Â I chose teal for both Romeo and Juliet and Scheherazade (which I think I finally have memorized how to spell).
For those of you who have been paying close attention, you have likely noticed that the en pointe shoes were copied for both sets. I thought about drawing two of basically then same thing and then came to my senses. The dolls leg positioning doesn’t really allow for “other” en pointe poses then this one. The leg warmers are also duplicated across both sets. Once again, I didn’t really want to draw the exact same thing twice.
Generally, I try to avoid copying from pervious sets- which is how I have draw way more pairs of skinny jeans than any person should- but sometimes I give myself a break and do it.
Lastly for those of my readers in the United States, Happy Labor Day! Let us all take a moment and be grateful for the people who fought hard to provide their fellow workers with a better way of life. Also, eat barbecue.
Four more 18th century dresses for the Pixie paper dolls today. So, by now I think I’ve already covered the various sorts of gowns women wore in the 18th century with a fair bit of detail.
On the left, we have a caraco jacket and a square hooped court gown. The caraco jacket was inspired by this gown from LACMA. The court gown was based on this gown in style and this gown in color scheme. Square hooped court gowns like this one were the most formal of a ladies wardrobe and, like court gowns generally seem too, stayed in style even after square hoops were disappearing else where.
Most of my color choices here came from the source gowns above. My favorite of the gowns, the caraco jacket with petticoat on the upper-left was the most painful to color. Those detailed floral patterns get my every time, but I just love the way they look. There is something about 18th century sprawling viney florals that I can’t get enough of. Even in my own house, I have an apron in that style of pattern that I wear while baking and simply adore.
I should say, I think, word about her hat. There are small dotted lines along the outside edges of the ribbon and you will need to clip those if she is going to wear her hat, as well as cut out the white area. That is best done with a sharp blade, like an exacto knife. I don’t usually use an exacto knife in my paper doll cutting (I am clumsy with those things), but for some things it really is the most effective option.
