Fashion model illustrations-using PS to synthesize fashion trend art character illustrations

The most popular contemporary fashion illustrator! How is it made?

He is the most popular illustrator

He is also the best spokesperson for fashion

David Downton,

Born in 1959 in London.

Since childhood,

the best treat for him is a large blank page.

However,

What David did not expect was that

he would be able to make a living from painting a long time later.

▲David Downton was painting when he was young

▲The studio is a painting of its own, and it is no less beautiful than Picasso's studio.

▲You can create stunning works on the "interesting and informative" workbench.

David initially studied graphic design,

his first work was in the early 1980s,

a cover design for WhichComputer magazine .

▲ Fashion illustrations drawn by David Downton in New York in 1998. Made of ink and acetate paper.

▲A fashion illustration drawn by David Downton for Christine Lacroix in 1998. The material is ink and color box paper.

For 15 years,

David has been a freelance illustrator.

No matter what happens,

He enjoys the life of a freelance illustrator.

▲Illustrations drawn by David Downton in 1999 for a fashion design designed by Jean-Paul Gaultier. A black long dress paired with black sunglasses is even more stunning. David takes Kate Moss as his prototype and uses pop style to express the classic charm of fashion. This work is quite famous in the fashion industry and is one of the most representative works in the fashion illustration industry in recent years.

▲A fashion illustration drawn by David Downton for Valentino in 1999. Similar to the painting style of Lacroix, Eric and others, the colors he uses are full of modernity.

▲ Paloma Picasso, a fashion illustration created by David Downton in London in 1999. The material is gouache, ink cartridge paper, and acetate paper coating.

▲The paper-cut bottle stickers completed by David Downton in London in 1999, with Iman as the model. Drawn with ink on Pantone paper covered with acetate paper.

The lines of David's works are simple and smooth,

very textured, and the style is not pretentious.

It can well show the graceful posture of the human body.

Because of this unique painting style,

Some people began to invite him to create fashion illustrations.

Among them,

the 85-year-old immortal legend Carmen Dell'Orefice,

she is also one of David's muses.

▲ Fashion illustrations drawn by David Downton in New York in 2000. The model is Carmen Dale Orpheus and the costumes are designed by Thierry Mugler. This work was first drawn with oil pastels on Pantone paper, which was then coated with acetate paper and then painted with ink.

▲David Downton painted a portrait of Anna Page, the editor-in-chief of the famous European fashion magazine, in 2001. He very successfully captured the soul of this "fashion godmother". Exaggerated color matching, playful expressions, uninhibited attitude combined with seemingly wild but very skillful brushstrokes~perfect!

▲David Downton served as Chanel's design director Amanda in 2002. Portrait by Harleezy.

He has always admired artists such as Lacroix, Antonio, and Eric.

Therefore,

There are also similarities in colors and lines in early painting styles.

In 1996, he produced illustrations for high-end fashion shows for magazines.

In 1997, he became active in Paris haute couture shows.

At first he was dazzled and completely unprepared,

but,

the Paris fashion show was real,

inspired an artist inspiration.

Paris has the most beautiful women and the best design works.

And everything here is fascinating.

David never paints when models are on the catwalk.

Because he found that it was impossible to do it at all,

He just took pictures or watched from the sidelines,

and truly felt every touching moment. .

He seized every other opportunity to paint.

No moment when the model was still could escape his eyes.

For example: when trying on clothes,

Sometimes even when the model is taking a break at a press conference...

▲Cosmetics are also his tools , touching the heart between the first and second strokes of writing, suitable for both light and dark colors.

David said: "When I first started painting, I thought it was my responsibility to restore the appearance of the clothes themselves according to the catwalk on the stage.

However, the first time I attended a fashion show was at the Versace show, I only drew Kate Moss's arms before she disappeared! So it's best to enjoy whatever detail the models are showing off in the moment. ”

▲The draft is also touching

David believes that the most important thing is the feeling of the body under the surface of the clothes,

and then the proportion, color, etc. Some details,

However, this is difficult to achieve

▲The draft is also touching

David drew countless drafts of the design,< /p>

Then he picked the best ones,

when the paintings were almost done, he started to eliminate them,

"decompose and reconstruct" them.

< p>He continued to paint,

until they looked natural.

He was featured in well-known media outlets around the world, such as The Times. The Independent",

and Harper's Bazaar (a Australian version), etc.,

wrote fashion-related reports

and held three solo exhibitions in London.

He also held a solo exhibition in New York.

In recent years,

he has also designed visual images for shopping malls in Hong Kong.

As well as illustrations for the Vogue women's fashion series.

▲David Downton's cover for the "Saturday Evening Post" in 2004. This work was created in Paris and is made of gouache, watercolor and paper.

▲Advertising poster designed by David Downton for TopShop's fashion conference in September 2004. This brand is the work of a young designer.

▲David Downton 2005. The illustration Valention Fitting was commissioned by Vogue (China Edition). The material is ink, gouache and paper, acetate paper.

▲The fashion illustration drawn by David Downton for YSL in 2006. The material is ink. , watercolor and paper.

▲David Downton’s fashion painting for YSL in 2006, using ink, gouache, charcoal and paper.

▲David Downton. A fashion illustration commissioned by Madame Magazine (German Edition) in 2007. This work was first drawn on paper with oil pastels, then coated with acetate paper, and then painted with ink and gouache.

▲ Illustrations commissioned by David Downton for The Times of London in 2007. Materials are ink, gouache and paper.

▲Illustrations drawn by David Downton for his own magazine PourquoiPas in 2008. The model is Dita Vontes, and the costumes are designed by Lacroix. The materials are ink, gouache and paper, with acetate fiber paper coating.

Did David paint the sexy dancer vividly~

If you want to grind an iron pestle into a needle~

If you want to have the ability to surpass others,

you must cultivate your ability to the extreme! Basics of Fashion Illustration | Detailed graphic step-by-step tutorial on the proportions of the fashion human body

The fashion human body is also called the "sketch" human body, which is the basic fashion body shape. We can design clothing or draw a floor plan based on drawing the human body, which is also a fashion The starting point of illustration.

Drawing a fashion human body sketch

First of all, you must be familiar with some rules of proportion.

The fashion human body is measured by "head length", and each head length represents 1 inch. Under normal circumstances, the fashion human body is basically 10 heads long, but it does not mean that 9 or 11 heads is completely incorrect. More often, it needs to be decided based on the characteristics of the clothing drawn. For example, if a shirt is loose, has large sleeves or a large collar, and has many corset details, it may have a longer waist and neck; if it is an exaggerated bat sleeve, the arms should be longer. If it is a skirt, the legs need to be longer.

Different costumes require different focus, and different focus requires different exaggeration methods.

The following is an example of a human body with 10 heads:

1. Draw a vertical line on the paper, and then divide it into 10 intervals. The top line is 0 and the bottom line is 10.

Each line represents a different part of the human body.

2. Head: Draw an ellipse between 0 and 1. The chin is exactly on line 1.

3. Shoulders and neck: Draw the neck and shoulders between 1 and 2. Shoulder width is approximately 1.5 head lengths (special styles of clothing may vary).

4. Waist and hips: Draw a line from both ends of the shoulders (shoulder line) downward to the waist line. The width of the waist is approximately 3/4 of the head length. Draw a line from both ends of the waist (waist line) to the hips (highest point 4 of the hips). The width of the hips is greater than the head length and waist, but smaller than the shoulder width.

5. Legs: Draw a gradually tapering straight line from both ends of the buttocks, from 4 to 10.

6. Feet: Draw a triangle on the outside of the lower end of the leg. The base of the triangle is the toe, and on line 10, the vertex of the triangle is the ankle.

7. Arms: Draw gradually tapering lines downward from the shoulder line to the wrist.

8. Hands: Use rectangles and triangles to roughly draw the hands, with the fingertips on line 5.

Now you have a rough basic human body drawn.

9. Smooth out all parts of the human body. (The natural connection between the head, neck and shoulders, armpits to waist, upper hip line, buttocks, crotch to ankles, feet, arms)

Regarding the ideal body proportions of the fashionable human body, In fact, you need to be flexible and accept changes in fashion. What seems perfect in one era may look strange in another era. For example, if you look at Monroe in the 1950s by today's standards, many people may think she is a bit fat~

The following standards determine the "perfect" fashion body of a certain era:

< p>Models or celebrities of that era

Emphasis on body parts and certain postures of the characters

Fitting clothing and underwear or other decorations, or no decoration

Generally speaking, the fashion human body must be taller than the ordinary human body, so that the fashion body can be better displayed and the effect of the fashion body can be highlighted in photos or works of art.

Thank you for coming!

For more exciting hand-painted tutorials, please pay attention to subsequent updates. (The article was first published on the WeChat public account, you can leave a message to tell what you are interested in)

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Shi|Ten miles of peach blossoms are not as good as a plate of Chen Mapo Tofu. Zero-based hand-painted colored lead tutorial (2) Using PS to synthesize fashionable and trendy art characters Illustration

This tutorial introduces the most popular trendy art illustration design method recently. The design style of this type of picture is very personal. When making it, some splash and highlight elements are used to decorate the characters to express the dynamic and artistic sense of the picture. Coupled with unique colors, the picture looks more personalized. Some materials in the tutorial need to be downloaded online. Final effect

1. Create a mask for the girl’s photo. Click the circle button so that you get a white square in the photo layer. Then, use the black Pen Tool or Brush Tool to erase the background. (Please make sure you are working on the white square and not on the photo itself.)

Second, perform image adjustment Hue/Saturation and drag the middle anchor point toward the gray area to make the model change. is grayscale. Another simpler method is to hold down CMD+SHIFT+U (the CTRL key on a PC is usually used the same as the CMD key on a Mac). Create a new blank layer and place it at the bottom. Give it a new layer and fill it with a solid color. Adjust the size of model photos. With the adjustments, I made the photo slightly smaller to make it fit better into the piece. The shortcut key for resizing is CMD+T. (In the resizing state, you might as well try to hold down the shift, ctrl or cmd keys occasionally, which can get different effects.)

3. Duplicate the layer. Perform a layer copy of the layer (model layer), or press CMD+J. Then execute the layer to create a clipping mask. The top layer should now have little arrows pointing to the layers below.

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4. Process the top layer. Perform image adjustments for shadows/highlights. Click the checkbox "Show more options", then change the number of shadows to 100 and adjust the contrast of midtones to -100. Then use the filter to blur the Gaussian blur with a radius value of about 3.0. Then change the blending mode from Normal to Lighten. Next to the Blending Mode check box for Opacity, make sure it's value is 70%. Also, in this clipping mask layer, cover the face with a mask to make the face less blurry. If you did all the steps correctly, it will look like the picture below.

5. Duplicate the model layer at the bottom, place it on top, and then set it as a clipping mask. Then, perform an image adjustment Shadows/Highlights on the top layer. Refer to the parameters in the picture below, and finally perform the blending mode to brighten.

6. Duplicate the top layer. This time only use the model's right hand and mask out the other parts. Then perform an image adjustment curve. If the adjusted look isn't as white as you'd like, then change the blending mode to Lighten. Duplicate this right hand layer. Select both right-hand layers simultaneously and merge them by performing a layer merge. Set this layer as a clipping mask.

7. Set the background to black. Double-click the layer, select Color Overlay, double-click the red square, and select black. Open your splatter image in another window and perform Select Color Range. After you get the selection you want, click OK. In many cases, the selection selects something you don't want, and you can correct it by inverting the selection. Now, drag the splash image into the window where we will work. Convert the image to grayscale by executing CMD+SHIFT+U. Repeat step seven to make it whiter.

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8. Use a mask to correct the splash so that it matches the model's boots. Also, this layer should be placed on top and not inside the model's clipping mask. Then, use the splatter brush to paint around as you wish. Use different transparency in different places to achieve a good light feeling after mixing. In addition, you can also add some other special brushes. It should be noted that these operations are performed in the mask. Remember: the two model layers should always be at the top, and everything else we've placed so far should be at the bottom.

Now let's add some more splashes. Insert a new splatter image, or copy the previous one.

9. Use the splatter brush to add different colors on different layers.

10. Create a new layer above the background layer and use the Lasso tool to draw a triangle. When the triangle selection is active, use the brush to paint outside the selection to achieve this cool effect.

11. Return to the white background layer again and add a little extra gray in the middle. Double-click the layer and set the parameters shown below.

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12. Add more splashes, but this time draw them behind the model layer instead of in the mask. Make some triangles and circles. I added purple to the triangles, white to the circles, and lowered their opacity. You can also find these shapes in the shape tool palette. Use the Lasso Tool to create a line within the lines you made previously in the background, then move it slightly upwards. This way you get an additional effect. In this line, I used purple and lowered the opacity to 5%.

13. Put some balls or anything else you like into the work. I put some of my little stuff in Illustrator and added some effects with the grid tool. I then pasted them into Photoshop and changed their blending mode to Screen. Use a brush to paint some shadows behind these things, and you can also use white to soften the shadows.

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14. Light effect. I'm going to show you how to create those light effects. However, this is only a rough introduction, and you need to practice a little on your own to master it.

15. Make some twinkling stars and polish their white parts to make them really sparkle. Finally, add something simple.

16. Examine your images carefully and look for unnatural areas. At present, it seems that the hand is a little strange. Create a new layer and place it inside the model's clipping mask. Use a white brush to paint the edges of the hand to make it look sweet.

Next is the final product!

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