I love March. I love March for the fashion magazines that come out in March. March, like September, is a big month in the Fashion magazine world. It’s right after Spring Fashion Week and the fashion magazines are stuffed with the new seasonal looks.
I always like to buy several when I go to the grocery store. I love Vogue for it’s amazing photo shoots, but for paper dolling purposes I want simple clear photos of clothing. (Models jumping around or standing in wierd poses are beautiful and all, but a pain to draw off of.) Generally, I pick from People StyleWatch, Elle, Instyle, Vogue or Bazaar. This time I wasn’t impressed with any of them except Instyle, and there wasn’t a new People Stylewatch to be had, so I just got my Instyle and spent Saturday drawing this paper doll set. (Also watching Escape from New York and Wall-e, but I digress.)
All of Mia’s clothing is based off items I saw in InStyle with a focus on things that were part of the minimalist collections that have been on the runway as of late, especially from Micheal Kors, Carolina Herrar and Ralph Lauren. I didn’t want to do pattern and I didn’t want to do anything elaborate, I wanted to focus on shape.
I’m really pleased with all the clothes, but a little less pleased with the doll. I decided to make her a Mia after I finished drawing the whole set, because I haven’t done a Mia yet this year, but once I finished her I realized that I have done a very similar hairstyle before for Mia before.
Anyway, I’m still pleased with this paper doll set and very excited to color it. It’s going to be a lot different I think than any other set I’ve done which is, to me, exciting.
It’s a Margot paper doll this Monday, the first for the new year, I think, and she’s sporting some stylish garb from the 10th century. Yesterday, I posted a pretty long ramble about 10th century Anglo-Saxon women’s dress and if you’re interested, I recommend reading that as well as this post, since the two rather go together in chronicling the epic research adventure this paper doll was.
One of my January drawing winners, Gwendolyn, who asked for this paper doll has been very kind as I slowly did my research and then set to work on drawing the set. I won’t pretend it hasn’t been both stressful and time consuming, because it has, but I am utterly pleased with the outcome and I hope she is as well.
Gwendolyn wrote me that:
I have actually thought a little bit about what I would choose if I ever won, so I can tell you now that I am interested in a Marisole-family doll, who is 10th century Anglo-Saxon. I would love a set or two of daily clothes, but I would also love a maille shirt and helm.
Speaking of the maile shirt, it is based on Anglo-Saxon finds in York and the helm is also based on the same thing. As women didn’t wear maile, I didn’t spend a huge amount of time researching the historical accuracy of such a garment. Personally, I’ll confess, armor doesn’t get me going like clothes do.
So, let’s talk about the clothes. As I explained yesterday, 10th century Anglo-Saxon’s women dress consists of several layers of clothing. To begin with Margot (our Anglo-Saxon model with a French name…) wears a pair of leggings with windings around the calves and shoes. The shoes come from Anglo-Viking finds in York dating from the 9th Century. The windings around her calves are based on an illustration from the manuscript Psychomachia (British Library MS Additional 24199) which shows a barefoot women on horseback. Sadly, the manuscript hasn’t be digitized, but there is an illustration in Owen-Crocker’s Dress in Anglo-Saxon England. There is no way to know what the top of such leggings looked like. I made them like this so they could be worn with the maile shirt.
The shift’s neckline is based on an illustration of a male farmer’s tunic illustrated in Tiberius B v calendar (British Library MS Cotton Tiberius B v, fol. 4r) and the sleeves are wrinkled as I discussed yesterday. The necklines of the other dresses are also based on the necklines of men’s tunics in the 10th century.
The veils are based on manuscript illustration, though I had added visible pins. Pins are commonly found from this period and it seems logical they were used to hold veils together. The green veil with broach is based on an illustration of the Virgin Mary from the first half of the 9th century (see Plate 1). The brown “poncho” is based on several illustrations and I discuss these cloaks a lot more in yesterday’s post.
Lastly, the embroidery on the red dress is not based on anything specifically. I wanted to use some patterns I found online, but they were far to detailed to easily make tiny enough to work as illustrations at such a small size. I did not include girdles as there is almost no published information on them and I didn’t want to just invent stuff. The colors used in these garments are based on the colors of the famous Bayeux Tapestry (which is not actually a tapestry, but that’s neither here nor there).
Well, I hope everyone has enjoyed the last two days in the 10th century. I certainly have had fun researching and I hope to do some more medieval period paper dolls now that I know more about the eras in question. (I think my next one will be 1300s, a little easier than 900s.)
So, last week I was feel very meh about this paper doll set.
Now, I’m rather in love with it.
I have a very on again, off again relationship with my paper dolls sometimes. I mean, if I was dating this blog, I would definitely declare the relationship highly unhealthy. As it is, the Blog is a demanding associate.
Anyway, I have decided on a name for this new “face” of Marisole. I’m calling her Magnolia, after the magnolia trees that aren’t blooming at all in the dead of winter in Alabama, but which are beautiful anyway. She’s stuck in the Other Friends category though until I decide if I like her enough to draw more sets for her.
I went back and forth and back and forth about Magnolia’s skin tone. I wanted to something darker than my standard Marisole skintone. I’ve posted before about my Skintone Pallette which I use to select skin tones for the blog. Now I was going to go with my darkest color which is #3b2219 which, as you can see, is a very dark brown. The trouble with #3b2219 is that it makes seeing the black lines on the drawing nearly impossible, especially when you print out the paper doll.
So, I lightened the skin-tone to a new shade which is #502e22 which I like a lot better, though it lacks the richness of the darker brown. I want to use #3b2219 more, but I am having trouble with it allowing the line-work to show up. I need to think about how to fix that problem in the future.
One last thing, I finally got the PDF of Seagulls and Seaside In Color fixed. Never let it be said I don’t get things done… eventually. 🙂
Oh and before I forget, I want to wish a happy President’s Day to those celebrating here in the United States.
Today’s Marisole Monday & Friends paper doll is a little futuristic and a little cyberpunk. She has a new face which I like I think, though I’m not sure about it. Drawing new faces for Marisole is a struggle for me. Drawing for Marisole at all right now is a struggle for me.
In fact, I kinda hate Marisole right now.
Don’t get me wrong…I’m proud of the 96 or so versions of Marisole I have drawn and I’m pleased she’s been a ninja, a fairy and an alien (not to mention plenty of other things), but lately I’ve been feeling uninspired when it comes to her. I think a big part of my frustration is that I drew this base doll over four years ago which is a long time to be drawing for the same doll. Working on her is like going back in time to a style I drew a long time ago and don’t anymore.
Before anyone freaks out, I’m not saying I’m not going to continue with Marisole style dolls, I just feel very much in a slump. The wheel in spinning, as they say, but the gerbil may be dead.
This is the paper doll set I abandoned last week and instead posted the doodles. I am so happy I gave it another week to be refined. Jo was one of the two winners of my drawing in January. She asked for a “groovy” late 60s early 1970s Marisole paper doll based on pattern covers from patterns she actually had sewn at the time. How cool is that?
You can see a PDF of the pattern covers Jo sent me here. I loved all of the pattern covers and I wish I had been able to draw them all, but, of course, that would be way more than a one page paper doll.
Normally, I do two pairs of shoes for each Marisole and friends set, but I wanted to focus on things the patterns had, so a simple pair of clogs did the trick. Tiny calico patterns were the “in” thing in the 70’s, so I created some to decorate these groovy outfits using a new method that I’m experimenting with involving Photoshops pattern making tools. I think they came out pretty well considering that I only sort of know what I am doing.
I drew a new Marisole paper doll face for this set, because I wanted to try to capture some of the whimsy of the pattern cover’s faces. I don’t think I did a good job of that, but I did have fun. Jo asked for bangs and brown hair, or I would have given into the temptation and tried to do Farrah hair.
(Okay, I did try. I confess. It came out… weird looking.)
I had so much fun dabbling in the 1970s, especially since I’m not very familiar with the clothes of this era. So, fans who remember the 1970s… how did I do?
Last week, I posted this paper doll set in black and white for coloring. I promised I would talk a little about each of the gowns and where they came from.
I need to learn to streamline my method for dealing with elaborate florals, or I need to never do one ever again. Normally coloring a paper doll set takes about 2 to 4 hours, at most. Sometimes longer, but only if I take a lot of breaks and am doing a lot of other stuff. If I have my colors picked out and I’m on a roll, I can do the set in about an hour when I’m really on the ball, though formatting, saving and other detail work takes longer. That single floral dress took me nearly an hour, by itself, to color. NEVER AGAIN.
(I say that and I’m already thinking of other cool florals I might draw… I have a problem, people.)
Let’s talk about where each gown came from. The floral gown, the blue gown and the red gown are all from the V&A in London.
The blue gown is based on this red dress from 1957. The red evening dress was drawn from this evening gown by Hardy Amies was made right after fabric rationing was lifted in England (1949), so lacks the layers of lace and silk that were common in evening gowns on this period. I love the simplicity and shape of the dress. The last dress from the V&A is my favorite, the floral evening gown made in Paris and worn by the wife of the British Ambassador. I tried, but I don’t think I captured the beauty of the rose patterned skirt and layered bodice.
The last pink dress comes from The Met, known as “Tree” this gown was designed by Charles James. Of all of the gowns I drew, I feel like this one didn’t work. My style of flat color just can’t capture the layering of the gowns beautiful fabric. Liana did a beautiful version of Charles james Butterfly dress on her blog several years ago which I think captures his work better than I did here.
Okay, that’s everything. Happy MLK Day to those in the US who are celebrating like me.
Nearly a year ago, I was asked to draw a paper doll of 1950s evening gowns.
Initially, I didn’t do it, because I couldn’t find any 1950’s evening gowns that I liked. Eventually I felt guilty enough to check out the V&A and the Met, both have strong collections from the 1950s.
I told the requester that I was working on the paper doll and asked what the hair should look like. The immediate answer was, “Like Mine.”
“Well,” I said, “Micro-braids with streaks weren’t really a thing in 1950 something, but okay. If that’s what you want…”
So, we have Marisole here, rocking her micro-braids with some couture 1950’s evening gowns to show off. As inspired by Liana’s comment a few days ago about stories, I offer the following scenario to justify this strange juxtaposition:
Marisole, working as the fashion editor of a major publication, has been invited to the Met’s annual gala whose theme, this year, is the designers of the 1950s. Eager to make an impression on the red carpet, she’s choosen to wear a vintage gown from the period. I am sure she will be the hit of the party when she arrives. 🙂
By the way, in a totally unrelated note, that floral pattern on the full skirted gown was the most complicated floral pattern I have ever done. I’ll rant more about coloring next week when I post the colored version. All I have to say is that normally, a paper doll takes me four to six hours to color, layout and get set up for blog. This paper doll… took longer. Much Longer.
This is the 500th post on Paper Thin Personas. YAY. Go Me! (I feel like I should do something more celebratory, but I’m not really sure what.)
Anyway, I’ve had several comments lately requesting old paper dolls re-done in black and white for coloring. So, today I’ll be posting three older Marisole Monday Paper Dolls in black and white.
Plus I didn’t quite get done with my planned post, so there’s always that too. I’m doing my usual January poll about what th blog should gain in the next year. Feel free to vote and there’s a drawing/contest with details here.
This was a pretty early Marisole paper doll. I think she was the first Caucasian Marisole paper doll (which still looks odd to me) and she’s, unsurprisingly, a redhead. I’d had a few requests for redheads, which is where she came from. I see a lot of problems with her now that I’ve drawn a lot more Marisole paper dolls, but I still like her hair.
I love winter coats and I drew this right after moving to Illinois. It was a cold chilly snow filled place and I particularly like the snowman and the snowball. This remains one of my favorite sets. It’s also a rare set where Marisole’s original hairstyle is visible.
I was never really pleased with how this Sporty Girl paper doll came out. I drew her because I got a request to do some spots outfits and the requester wrote a really nice email about the importance of girls in sports.I thought the intention was really good, but I think the desire to do something that my heart wasn’t in really shows. I was drawing it because I thought I should, not because I liked the idea or I was committed to it. On the other hand, I like her shoes.
And that is all for this Monday. There will be another edition to Greta’s Trousseau later this week.
I’m pretty pleased with the year as it has turned out. I’ve been more consistent with my posting and I think the blog has grown in positive ways. I do have changes I would like to make in the future and some of them are the same changes I’ve been wanting to make for a while.
2014 will be here in a few days and I will return to work in a few days. I’m excited and nervous and looking forward to the New Year. The next post on this blog will be in 2014. YAY!
Meanwhile, I am totally pleased to show off the Queen of the Dusk fully colored. (By the way, I keep typing Queen of the Duck, which would be a totally different paper doll set, I think.) I started with a more traditional color scheme for me, which means I found a set of colors which I liked and was going to use on each paper doll dress, but after I used them I decided I really didn’t like them and instead went with each paper doll dress being monochromatically one color. I think this causes some problems for the shoes, but I rather like how the dresses came out.
I confess I named this paper doll after I decided on the color scheme, so it doesn’t make as much sense in black and white as it does when the doll is fully colored. I thought about making her another princess, but then I decided that Queens have power. Power seems like a good thing. So, she’s a Queen not a Princess. (Unless you want her to be a Princess, in which case, go for it, I say.)
Having recently watched the first Hobbit film with my Mother to get ready to go see the sequel, I feel that I can say these costumes feel far more Elf like than Hobbit or Dwarf. Also the new first of the Hobbit movies felt very manic.
I like the layers on the dresses, but I’m not totally pleased with the shoes. Still… Not everything has to be perfect, I suppose.
Someone requested the lute. That’s why she has a lute. I am not going to go down in history as the worlds best lute artist. Still, it was fun to draw my slightly deformed insturement. I wish I could recall who asked for a lute… If it was you, drop me a comment. It’s bugging me now.
