Printable Paper Dolls from Paper Thin Personas

Hope: A Late 18th Century Paper Doll Set

January 31, 2016September 11, 2015

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.

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Hope’s hair is done up in a style known as coiffure à 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.

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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.

Her hat is from this hat from the MINT circa 1770. Her shoes are based on this pair from the Met from 1780. Her muff and her mitts are both from Colonial Williamsburg.

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.

En Pointe: A Printable Ballerina Paper Doll in Color

January 25, 2016September 7, 2015

More ballerina paper dolls!

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. I chose teal for both Romeo and Juliet and Scheherazade (which I think I finally have memorized how to spell).

{Click Here for a PDF to Print} {Click Here for a PNG to Print} {Click Here for More Marisole Monday & Friends Printable Paper Dolls}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.

Round Gown, Court Gowns and a Caraco Jacket: 18th Century Paper Doll Dresses

January 31, 2016September 4, 2015

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.

Moving to the right, we have a dress based on this gown from the MFA in Boston and a round gown from the Met. Round gowns were the least formal of all these gowns.

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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.

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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.

If you’ve missed any parts of the 18th Century Pixie Series, they all can be found here.

En Pointe: A Black and White Ballerina Paper Doll

May 28, 2020August 31, 2015

Today, my Monica paper doll ballerina is being joined by Mia, also getting to be a ballerina. Mia’s costumes are from (left to right) Swan Lake, Giselle, Don Quixote, Scheherazade and Romeo and Juliet. I do feel rather that Monica got the better known ballets since most people have heard of Swan Lake and the Nutcracker, but haven’t heard of Scheherazade, despite being an amazing piece of music.

When I was first compiling my list of ballets to draw for these paper doll sets, I wanted to show the range of ballet costumes beyond the tutu. Romeo and Juliet is usually costumed in a renaissance inspired style and Scheherazade is usually done as an orientalist fantasy set in the Middle-East. So, those are my two nods to the “non-tutu” look for these paper dolls. After all, not every dance costume is a tutu.

Mia has practice clothing as well- a simple wrap skirt, leg warmers, a long sleeved leotard, tunic top and flat soled dancing shoes. Of course, she can share her warm up clothes with Monica and between the two of them, I think there is a nice variety of options. I didn’t, to be frank, want to spend a lot of time on practice clothing. It is not nearly as fun to draw as fancy tutus.

{Click Here for a PDF to Print} {Click Here for a PNG to Print} {Click Here for More Marisole Monday & Friends Printable Paper Dolls}There are some mix and match options as well from Monica’s set. Monica’s Copellia tutu, for example, would also work for the first act of Giselle, before Giselle dies. I am particularly pleased with how the transparent overlay on Mia’s Giselle tutu came out, actually.

I have been spending a lot of time looking at the work of Charles Ventura and Pat Stall, both of whom had a mastery of black and white line-work that I can only dream of one day achieving. I have been collecting their work, along with other black and white paper doll artists, on my black and white paper dolls Pinterest board for a while.

Studying the techniques of artists you admire is a great way to learn how to try new things.

Does anyone know if Charles Ventura or Pat Stall are still alive? I really feel like I should write them and tell them how much I love their paper dolls.

Polinanise and Stomachers: 18th Century Gowns for Paper Dolls

May 28, 2020August 28, 2015

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.

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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.

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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…

If you’ve missed any of this collection, here’s the 18th century Pixie series thus far.

Prima Ballerina: A Ballerina Paper Doll in Color

May 28, 2020August 24, 2015

So, one of my first jobs while working in library school was to assist with the digitization of a massive collection of costume design drawings from a group known as the Motley Group (not to be confused with Motley Crue). This let to me eventually finishing my library degree and going onto a degree in Theater History with an emphasis on the history of technical design work.

All branches of theatrical design are about communicating information to the audience seamlessly. In Romeo and Juliet, for example, it is traditional to costume the warring families in different colors. Romeos family might be all in reds, oranges and yellows while Juliet’s family might be in greens, blues and purples. This is useful, because it communicates with the audience immediately which character is associated with which group- important in a play with about 20 characters. Opera and ballet also have costuming traditions. In a medium where people don’t speak and the plots are often rather odd, identifying characters by their colors and style is even more important.

So, when I was selecting colors and costume designs for my ballerina paper dolls, I was well aware that there were traditions that I needed to take notice of. I did my best to keep these costumes fairly “traditional” with the exception of the Firebird. I didn’t like either tutus or the unitards that seemed to be common, so I went with something a little more contemporary.

african-american-ballerina-paper-doll-color

{Click Here for a PDF to Print} {Click Here for a PNG to Print} {Click Here for More Marisole Monday & Friends Printable Paper Dolls}Working left to right, the first costume was from the ballet Coppélia- usually costumed in a “folk” style which is also often used for the first act of the ballet Gisselle or any ballet where there seems to be milkmaids and/or county fairs. Next is a costume for the Waltz of the Flowers from the Nutcracker. This is a costume I entirely invented when I didn’t like any of the versions I was seeing online. For my firebird, I chose to do a more modern costume, rather than a traditional tutu. If I was going to costume something no in a tutu, the firebird seemed like the logical choice. Monica is dancing the part of Odette in Swan Lake- next week’s paper doll, Mia, will have a costume for Odile. It is traditional that the part is danced by the same ballerina, but I wanted to split up the costumes across two sets. For Swan Lake, I settled on a traditional sort of costume with some feather detailing and a headdress. From Sleeping Beauty, Monica is dancing the part of the Lilac Fairy. Obviously, her costume was going to be lilac.

Joy: An 18th Century Historical Paper Doll Set

May 28, 2020August 21, 2015

Today’s 18th century paper dolls is my second of three. Joy, all of these paper dolls will have virtue names, is from between the 1760s though 1780s. She has underwear and a gown in the polonaise style. Poloniase gowns had a skirt that is raised up and bunched over the petticoat. Usually a gown could be worn either with the skirt looped up in the polonaise or with the skirt down- offering some versatility to the 18th century silhouette. The polonaise gown sticks around into the 19th century and is sometimes mistaken for a bustle.

Joy’s gown was based on this pink silk gown circa 1770-1780 housed at the LACMA. Her shoes are based on this fashion plate from 1778. Her undergarments are based off a set held by the V&A museum dated to 1778.

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As with the rest of this series, I based her color scheme off my 18th century color pallet which I introduced in the first part of this series. After seeing this gown from MFA in Boston I knew I wanted to do something in a rich red color. Despite myself, I tend to think of the 18th century as being muted in colors, but nothing could be further from the truth.

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It has been so much fun to share this paper doll series over the last few weeks. We have four more pages with one more doll and three more sets of gowns. The whole collection, so far, can be seen here.

Since we’re talking the 18th century, I thought I would call attention to a cool project I discovered this week. The University of Michigan has begun to translate and make available online the Encyclopédie edited by Denis Diderot and Jean le Rond d’Alembert in the 18th century. The section of primary interest to those of us obsessed with dress is the plates on the Tailor of Suits and Bodices, but I’ve used the Encyclopédie to show students furniture manufacture and paper making circa 1790. I love this book and can get lost in it for hours.

Prima Ballerina: A Ballerina Paper Doll

May 28, 2020August 17, 2015

For years I avoided drawing a ballerina paper doll. I was asked a lot, but I always shied away.

Mostly, because the idea of drawing tutus frightened me. I work in ink. Ink is great for a lot of things, but I have always struggled with transparency and tulle (that stuff they make tutus out of) is known for both its transparency and its texture. That alone was enough to scare me.

Then, on a fateful day last year, I had no choice. I had to draw a tutu for a contest winner. I hated the outcome of my first tutu attempt, but I swore I would tackle tutus again.

I learn to draw tutus (and I still am learning), I have had to learn to let go a little of my natural instinct for controlled linework. I’ve had to embrace the risk of messy linework. That’s been a struggle and while my tutus still aren’t perfect, they are getting better.

african-american-ballerina-paper-doll-black-white

{Click Here for a PDF to Print} {Click Here for a PNG to Print} {Click Here for More Marisole Monday & Friends Printable Paper Dolls}So, for my ballet costumes, I chose to do some classic ballets that I love. The characters are Swanhilda from Coppelia (or Gisselle before she dies, either way), The Waltz of the Flowers from The Nutcracker, Odette from Swan Lake (though if you color it black, it could be Odile), the Firbird from The Firebird, and the Lilac Fairy from Sleeping Beauty. I chose Monica for this set, because I was thinking about Misty Copeland and also that I’ve only seen one African-American ballerina paper doll before. That would be one doll in Dover’s book- Ballet Dancers. So, here is a second African-American ballerina paper doll. She’ll be in color next week.

Enjoy!

18th Century Gowns: Round-Gown, Brunswick, and Sack-Back Gown

May 28, 2020August 14, 2015

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.

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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.

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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.

In case you missed part one of this series, here is the entire collection so far. Next week, we will have our second paper doll- Joy.

Ragamuffin Girl: Steampunk Printable Paper Doll in Color

May 28, 2020August 10, 2015

You’d think after having done hundreds of paper dolls that I would actually never struggle to come up with color schemes. And yet… I still have trouble.

The problem with steampunk or anything steampunk inspired, is that there’s a lot of brown. (This is actually the same problem I have with gothic things as well- too much black.) So, I selected several diverse shades of brown to use and then set them off with some ochre, orange, olive green, and teal. Pale blue was added so that every shirt wouldn’t be cream. I wanted to avoid red or pink- these are both colors I love and colors I tend to fall back on when I am trying to come up with color schemes and I also thought they were too girly for this menswear inspired set.

The tiny braids in Mia’s braided hair created a new series of challenges. There’s three choices when highlighting a feature like that- go darker than the main hair color or do lighter than the main hair color or go a radically different color than the main hair color. I knew I didn’t want to do option three and I decided the lighter braids looked better than darker braids.

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I will confess that this set took forever to color and while I really like how it turned out, doing the layout of all these pieces was a pain as well. I need to remember my “10 to 11 pieces plus 2 pairs of shoes” rule when I’m drawing or else doing the layout takes forever. This set was 13 pieces and 2 pairs of shoes, plus a lot of these pieces are big. Anyway, it might not seem like a big difference, but it does make a difference.

Anyway, I hope everyone enjoys Mia in her steampunk get up. Next Monday, there will be ballerinas. Actually, we’ll have a whole month of ballerinas- because I might have gotten a little carried away. 🙂

Debuting my 18th Century Historical Paper Doll Set with Faith

May 28, 2020August 7, 2015

Sometimes, I get started on projects and they don’t seem “insane” and then a few weeks later I find myself further into them and I am thinking, “Was I crazy to start this?” and, of course, “Will this ever be done?”

So, over the next seven weeks on every Friday, I will be sharing pieces from a historical paper doll project that started with a simple, “I should draw some 18th century clothing for the Pixies.”

It kinda grew a bit unexpectedly.

My original plan was to do three Pixie paper dolls, all with different skin-tones, and each would focus on the first part, middle part and then last part of the 18th century.

No plan, as they say, survives contact with the enemy.

Instead of three clearly defined sets, I ended up with three paper dolls and four pages of dresses and only one set, my late 18th century set, seemed clear cut. So, I did what any rational paper doll artist would do, I said, “Meh. I’m just going to go forward anyway.”

Today I am pleased to present the first of my three Pixie paper dolls and for the next six weeks, each Friday, there will be another Pixie paper doll or a set of dresses for the 18th century Pixies.

As you can see from my 18th Century Color Palette graphic above, I knew I wanted to use a consistent color palette through all of these seven pages of paper dolls. I chose to based my colors on a stomacher, also from the V&A Museum. I wanted all the colors to be fairly soft, but also rich, reminiscent of what you see in portraits of the era.

Today, I am pleased to present Faith, the first of this seven week series.

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Faith wear’s her hair in a style known as tête de mouton (or “sheep’s head”) and it was extremely popular in the 1750s. She, of course, has her hair powdered, through powder was not universally worn, despite what some people seem to think. Her underwear consists of stays and hoops. As with many of my forays into historical underwear, her undergarments won’t fit under all the dresses of this set. Her stays are based on Stays from the V&A Museum . These type of wide narrow hoops were usually used to support the wide skirted formal gowns of the 18th century, but Faith doesn’t have a formal gown on this page. Instead, she has a riding habit. Her riding habit is based on Riding Habit from the V&A museum dated between 1750 and 1759. Her small hat is a combination of a hat from the Met Museum and the hat in this portrait of Princess Marie-Thérèse-Louise de Savoie-Carignan which was sold at Christie’s.

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The colors of her garments were, of course, influenced by the original riding habit, but also by the stomacher I showed above. I wanted a consistent color scheme across all these paper doll pages, for maximum mix and matching possibilities. Playability, a word I am not sure is a word, is something that I value very highly in my paper dolls. While I rarely cut them out and actually play with them, I like to think about how people would cut them out if they were going to do so.

Tune in next Friday for a page of dresses and then the next week a paper doll and then a page of dresses and then… well, you get the idea. 🙂

Ragamuffin Girl: Steampunk Paper Doll

May 28, 2020August 3, 2015

I previewed this paper doll back in April, but even when I previewed it, the paper doll set had been sitting in my sketchbook for a month or more. I was dreading work on it, not because I didn’t like the paper doll, but because the idea of coloring all the detail was terrifying.

So, last week, when I was finally out of everything else I had drawn for Marisole Monday & Friends that I could feed the blog, I found myself finally tackling this paper doll set. Sometimes I have to be forced into these things.

All right, so inspirations for today’s paper doll set include the film Newsies and that’s really about it. Though I confess I do rather see today’s version of Mia hanging out with my airship mechanic Marcus. I mean they both have tools and newsboy caps.

{Click Here for a PDF to Print} {Click Here for a PNG to Print} {Click Here for More Marisole Monday & Friends Printable Paper Dolls}I try to create for all my Marisole Monday & Friend’s paper dolls somewhat evenly. Currently though, this is only Mia’s second set this year. That puts her behind well… everyone else. So, she’ll get some more love soon though since I’ve got a ballerina set in the works for her and Monica. (Yes, I tackled my fear of tutus.)

Today’s paper doll set will, of course, be up in color next week and then… I have no idea what’s next, actually. Probably ballerinas.

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