I used to feel a little guilty about princess paper dolls. I love fairy tales, especially classics like The Twelve Dancing Princesses and East of Sun, West of the Moon. Yes, the whole commercial empire that is the Disney Princess phenomena made me uncomfortable. I wondered, and still do wonder, about the messaging little girls receive about femininity, relationships, and power.
On the other hand, I like drawing fantasy dresses. I enjoy them and I have been asked by little girls if I have any “princess” paper dolls. When they ask this, they aren’t really asking for the sociopolitical role that a princess play. Rather, they want a girly doll with pretty dresses. So, I’ve learned that sometimes it is important to categorize things as “princesses” for the ease of people looking for “fantasy gowns.”
That brings us to this week’s theme of fantasy gowns for Monday’s paper doll, one of the many versions of Maeghan. I have no idea if she is a princess or not, I leave that up to all of you too decide.
What I do know about her is that she is a musician, because with today’s printable fantasy gown we have a flute. I played the flute briefly in Middle School. I was not a very skilled flue player, but that’s neither here nor there. As it happens, I have no musical talents to speak of.
If you missed the paper doll, here she is, but I also think any of Marisole Monday & Friend’s girls- Marisole, Monica, Mia, Maeghan and Margot would look good in this paper doll dress. I particularly think this Mia paper doll with her red hair would look great in that dark periwinkle color.
Tomorrow, there will be another fantasy gown and a book of music, so that’s fun.
As always, I’d love to hear what you think in a comment. Currently, I’m soliciting opinions on the new format six weeks in.
Another printable princess paper doll this week. Clearly, I was in the mood to draw fantasy dresses. I did think about trying to get some other sets done and then breaking up my princesses, but in the end, that just didn’t work out. So, May has become a month of printable princess paper dolls for the Marisole Monday & Friends crowd and people are just going to have to deal.
So, in the 12th century, there was this garment called a “bliaut.” Now, I’ll be honest, I am still learning about 12th century clothing, but in my limited research the “bliaut” was a wide sleeved gown with a full skirt. The most famous example, I know of, is from the sculptures on the exterior of the Cathedral of Notre-Dame de Chartres. Another example is the Unshaw Virgin from the British Museum. I’m still mid-research to create a historical 12th century paper doll, so while I work on that, I thought I would draw a fantasy paper doll inspired by the 12th century.
Along with the 12th century, Maiden here owes a bit to Norse things with her bone comb and her knife. I think she could be a generation or two removed from my Maiden of the North paper doll from last year or maybe from the same “world”, but a different geographic region. I also think Marcus as a Warrior fits in as well.
Now, I will confess that I did try to make something very different from Monica’s Dreaming Princess set here. Despite the fact that they are both fantasy paper dolls with a distinctly princess vibe, the styles are pretty different. Maiden here is all about the 12th century while Dreaming Princess was all about the early Italian renaissance look. Plus, while Dreaming Princess was modeled by Monica, Margot is the model for Maiden, a title picked entirely because it fit in the space I had left after rearranging this set like a dozen times.
For colors, I wanted to use shades that reflected manuscript illustration. While Dreaming Princess was me channeling my inner-8 year old. This paper doll was much more my taste which tends towards more muted colors when I think of fantasy gowns.
See this is where I would LOVE to say that this was some grand plan of mine to counter balance my post-apocalyptic paper doll set from last Friday against today’s futuristic paper doll coloring sheet, except that I totally didn’t plan it out that well. I am NOT that organized- except when I am and on those occasions, expect bragging.
The truth is that I am out of backlog which is hyper rare for me and not very fun, so I literally was working on this paper doll set at 11:30 last night, trying to get it all saved and then woke up early this morning to write this post before work. I do not like working this way, Sam I am. I do not like it at all.
So, hopefully this weekend (during which I do not have to work), I will finally be able to sit down and work solidly for a few hours and get some paper dolls ready for blog food. For the blog is like a monster, as I once explained, and it hungers.
Today, it gets to snack on a futuristic fashion paper doll with thirteen pieces. I have to confess I was a little jealous of Boots “separate head” method of making paper dolls while I struggled to think about all these high necklines on these paper doll clothes. But I guess you can always print out too, cut one’s head off and glue it to the other paper doll if you like. What’s a little paper doll surgery among friends?
So, if the B&B paper doll last week was ready for the end of the world, I think today’s paper doll is much more about a semi-utopian future with glass dome houses, lots of white and probably space ships. You know, a very Star Trek kinda place.
To make her shirt on the left with the ridged shoulder, you’ll need to attach the floating tab, because the shoulder pieces stick out above the shoulder and otherwise the garment won’t fit properly. Just an FYI for everyone.
I have been seriously considering trying out Periscope to film myself maybe live inking a paper doll set? Is that something people would find interesting? Worth trying out or no?
The trouble of posting from paper doll backlog, is that sometimes I get to the point where I’ve drawn something so many weeks ago that I have no real recollection of what I was thinking or planning when I designed whatever it is. This is one of those sets. I remember drawing it, but I don’t remember much about this set except worrying about drawing the lily flowers on her skirt and hat.
I decided I tend to always draw the same flowers and I wanted to try something different.
Margot is showing off this set. I feel rather bad for Margot, since she hasn’t gotten a set since April when she was a Tudor lady. I think it is just that she got a LOT of love at the beginning of the year and then very little for the rest of the year.
Anyway, this is the last Margot set for 2015. The year is wrapping up my friends. 🙂
As always, if you have thoughts, please share them in the comments and if you like the paper dolls than consider supporting them through Patreon.
Also, there’s going to be a really fun Q&A on Wednesday with a special guest from Dover publishing. I’ve been waiting to publish this for weeks. 🙂
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.
In my first page of gowns for my 18th century paper doll series, I talked a lot about different styles of gowns. I did not, however, talk about stomachers. So, a stomacher was a triangular shaped piece of cloth that was pinned or sewn in place to fill in the bodice of gowns. Most gowns had either an actual separate stomacher or something that looked like a stomacher. In today’s collection of gowns, they all have stomachers, except the polianse gown which is front fastening.
On the left side, the first gown is a polinase style based on this gown at the V&A. The lower gown was my rather poor attempt at capturing looped silk fringe which was very much in style in the 18th century. I believe this was the gown I started from, but I’m not totally pleased with the resulting outcome.
The first gown on the right was my attempt at the caraco jacket sort of garment with a stomacher. This example from the Met is a similar style. The gown on the bottom-right is based on this gown where the stomacher extends below the closure of the coat like bodice.
When it came time to color these gowns, I knew I was going to color the polinase gown the same way as the source gown which made things quite simple. The gown below it was inspired by the green in the stripes of the original. I chose brown for the top right gown to match the more casual nature of the caraco jacket style. While the bottom right gown is based a vibrantly colored gown, I chose a white and pastel gown from the 1770s as my color inspiration.
The two different sized caps on the page are needed to accommodate the difference in hairstyles between Joy and Faith. There will be a third Pixie doll for this series, but she won’t be up for a while. After this there is another page of gowns, I think. I have four pages of gowns and three pages of dolls, so you can see there’s a little bit of a challenge as far as going doll, gowns, doll…
Today, we have out first set of 18th century gowns for the paper dolls, including a round gown, a brunswick and a robe à la française.
Until the introduction of high-waisted dresses at the very end of the 18th century, most women’s garments consisted of a skirt or petticoat and a bodice. In garments like round gowns, less formal and/or worn by the middle classes, the bodice would fasten in the front and there would be a separate skirt. The far left paper doll costume is a round-gown, based on this round gown from the Philadelphia Museum of Art.
Sometimes, the bodice would come down partly over the skirt creating a jacket like affect. These mid-thigh length bodices were called caraco jackets. Here, for example, is an extant caraco jacket from the LACMA. Later in this series, there will be caraco jackets, but our middle gown is not a caraco jacket, but rather a brunswick. Brunswicks were traveling garments, often hooded, that had long sleeves. Though relatively practical, they were made of fine fabrics like silk- which makes one wonder about the whole “traveling” thing. Anyway, you often see Brunswick’s in art, but the V&A has a rare extant version which would have had removable sleeves. I based my Brunswick’s on two portraits- Lady Mary Fox and Alexander Roslin’s Portrait of the Girl Holding a Spaniel.
If the bodice and skirt were attached to each other in the 18th century, the skirt would be open in the front to reveal the petticoat underneath. This style of gown was called a robe à l’anglaise, closed bodied gown or an English gown if the pleats in the back of the bodice were stitched down. However, if the pleats were allowed to fall open and loose than the gown became sack-back gown or robe à la française. In modern times, this gown has been called a Watteau back or Watteau gown, after a painter who painted a lot of this style. The dress to the far right of today’s paper doll set is a sack-back gown, but I think the style is easier to see through extant examples like this robe à l’anglaise and robe à la française, both from the Met’s collection.
Along with the gowns, today’s set includes a pair of slippers with overshoes based on this set from the Powerhouse Museum Collection. Over shoes were worn to protect the shoe from mud and muck, though I wonder how much protection a brocade and leather pair could have granted. I’ve also included several different styles of hats. My goal with the hats in this paper doll series is less to match specific dresses, but rather to provide enough variety for there to be plenty of choices. Women did not always wear their hair covered, but usually did.
My color choices for these gowns were taken from my 18th century color pallet which I showed off in last week’s paper doll post. I chose pale blue for the round gown, since the source gown is blue striped, bright yellow for the brunswick, and a rich teal-blue color for my first robe à la française. That is certainly the most formal of the gowns from today’s set. The shoes were done in a neutral light brown color to go with any of the dresses.
I first stumbled across Cranach dress or gowns in this rather gruesome painting of Judith with the Head of Holofernes months ago and her gown was fascinating. I didn’t know much about it, except that it was painted by Lucas Cranach. As it turned out, I discovered as I did more research, that the artist- Lucas Cranach the Elder- painted countless versions of this gown on countless both real and mythological figures. Coming out of the Saxony area of Germany, Lucas Cranach was hired by Fredrick the Wise who to be the court painter of his court in 1505 and Cranach stayed there for the rest of his life. He was extremely prolific and his art is distinctly romantic and stylized. Even his portraits all rather do look the same after a while, I have to confess.
Around 1546, Cranach illustrated a manuscript for the Court at Saxony. This collection of portraits of Saxon princes and family known as Das Sächsische Stammbuch – Mscr.Dresd.R.3 is fascinating. I was immediately struck by the illustrations of the Saxon princesses (image 220, f. 89) and I knew I wanted to draw these dresses.
However, there is a debate as to whether or not Cranach’s gowns actually existed in the real world. Here’s my view: We don’t have an extant one, but then we don’t have very many extant garments from this era anyway. Should we find one the debate would be settled, but until then we have to work with the primary sources we have. The value of fabric and the expense of clothing was so great the people usually chose to be painted to garments they actually owned.
Plus, I tend to approach history with the belief that in the absence of proof to the contrary, we should assume that people of the era were not trying to mislead people of the future. Why commission a family history with crests and portraits of your family, if you are not going to accurately render the people in the images? Das Sächsische Stammbuch – Mscr.Dresd.R.3 is a collection of portraits of Saxon nobles. Why put the princesses in imaginary gowns?
The first question I struggled to answer was if the nets of pearls so often seen the women’s hair in these portraits were actually nets of pearls, or rather some sort of cap. This article on these caps lead me to conclude it was a cap, rather than part of the hair. The paper doll’s shoes are fairly standard 15th century shoes with squared toes. Her hats are based on portraits of the era.
I picked out colors based on the main colors I saw in the portraiture which were red and black. I really wanted to do blue as well, like the illustrations of the Saxon princesses and so I did a blue gown as well. I did wonder, however, about the blue. Color is often symbolic in manuscript illustration and I wondered if perhaps blue was used to denote virginity (the Madonna was associated with blue) rather than to render the actual color of the gowns. Never the less, I thought they looked pretty and that was enough for me. I made the paper doll a redhead, because I have a thing for redheads and so did, it seems, Cranach.
The most useful document was Das Sächsische Stammbuch – Mscr.Dresd.R.3 and I owe a debt to the library that digitized it. It it through this digital work that people like me can see the great artifacts of Europe and study them. I am well aware of the risks and time such projects take, so I am grateful when libraries and museums undertake them.
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And, of course, thoughts in the comments are always valued.
This isn’t my first foray into the whole “regency steampunk” genre, though I don’t know if this genre already exists or not. My first foray was back when I did my Best Friends set and one of their pages was regency steampunk.
This is my second foray into the genre. I think it is largely more successful, mostly because I am a better artist now than I was three years ago. I still struggle with making goggles that really “work”, but I have hopes that eventually I might figure it out.
Steampunk fascinates me just as much as Gothic fashions and Cyberpunk fashions fascinate me. I am always interested in alterative fashion cultures as they reflect some part of our cultural fabric. Despite finding them interesting, I have never had any desire to “dress up” in steampunk. I simply don’t like wearing costumes, a fact which shocks many people when they find out I draw paper dolls.
So, I’ve spoken before about my pet peeve that fantasy people are always white skinned, as a result I gave my steampunk regency paper doll a soft brown skin-tone. I was going to say “mocha” skintone, but I have been trying to avoid using food words to describe skintones. They just kinda creep me out. Something about my skin being called peach or cream, or calling someone else’s skin chocolate or spice, sorta… I dunno. I’m not sure I want to think of my skin as a food product. It’s a little Hannibal Lector, you know?
Anyway, moving on… The colors are based on actual common early 19th century colors including Turkey Red and Indigo. Both of these colors are produced by dyes from India or Turkey. They are such rich colors that I countered them with cream and black. Personally, I love how real natural indigo fabrics look. It’s an amazing color.
Be sure to cut along the dotted lines so she can wear her clothes and the floating tabs should keep her little top hats on her head.
I’ve never seen anyone else combine the early 1800s silhouettes with steampunk, so maybe it has a name already and I don’t know it. Either way, I am trying to decide what to call this new genre of fashion and therefore have a poll. Plus, you know, polls are fun.
[poll id=”8″]
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This isn’t an accurate depiction of Tang Dynasty dress. Though at times it seems to me that this would be obvious, most people (myself included) aren’t very familiar with the dynasties of China, let alone what they were wearing. Oddly, I never feel like when I draw stuff like this or this or this, I have to say it’s not accurate historical European dress, so perhaps my ned for a “disclaimer” is partly an assumption on my part about what my readers are familiar with.
So, anyway, these gowns were inspired by Hanfu and Tang Dynasty dress if anyone is keeping count. Of course, they aren’t accurate and they aren’t meant to be. I just had a lot of fun looking up gowns like this one and this one on Pinterest.
I find balancing research intense projects with non-research intense projects really helps keep me feeling sane. So, fantasy often seems to counter balance historical sets. I just finished, for example, penciling the largest 18th century set that I have ever drawn and then drew a space princess with a ray gun.
I went with a muted color scheme that I found on Design Seeds. I wanted it to feel a little less bright and more nature inspired than a lot of my color schemes tend towards. I have a lof of bright colors. I think the gray greens and soft lavenders go a long way to keeping things feeling soft and delicate.
I swear I had a reference from a contemporary Asian historical drama film when I drew her hair, but now I can’t seem to find the picture on Pinterest. Normally, I’m quite compulsive about saving these things, so I’m a little surprised to be so flummoxed.
