fabric rendering

The Yellow Dress. Gustave Jacquet (French, 1846-1909). Oil on canvas.

A pupil of the William-Adolphe Bouguereau and a Salon exhibitor from 1865, Jacquet was renowned for his portraits and genre paintings of figures in 16th, 17th and 18th Century costume. His work was often on a small scale and meticulously detailed, paying particular attention to the rich rendering of fabrics and textures.

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It’s FRIDAY FASHION FACT! Normally in these posts, I focus on a specific fashion trend. But today I’m taking a step back and discussing an era as a whole. Elizabethan fashion is incredibly distinct and iconic. When you mention fashion history to someone, Elizabethan dress is often one of the first things they think of. This is thanks in no small part to the infamous monarch herself and thriving empire she ruled, and, of course, Shakespeare. But how did such a unique fashion come into existence? Let’s break it down piece by piece.

First of all, it is important to note that all the trends I discuss today were popular for both men and women. It will come as no shock when I tell you that just about every piece of Elizabethan fashion developed out of a desire to show off personal wealth and status. Just like nearly every other fashion trend throughout history (particularly pre-20th Century.) The most iconic piece of Elizabethan fashion is without a doubt the ruff, but since I did a separate post on that a while back (read here) I’m going to skip over it today. 

The base of the opulent Elizabethan look was the fabric itself. Heavy silk brocades and velvets were the preferred style, and by far the most expensive. Silk, which was expensive to start with because of how it is made, had an added expense in England because it had to be imported. In fact, the queen complained that too much money was leaving the land to purchase fine fabrics abroad. Velvet needed more silk to create it due to it’s pile (thickness) adding more to its cost. To make these already expensive fabrics even more costly, they were often covered in intricate embroidery, all done by hand, often using precious metal thread. Further embellishment was added with beading, for which using real pearls was highly desired. 

These luxurious fabrics and elaborations needed a vast canvas to be displayed upon. Sleeves became larger, skirts became wider, hose (men’s trousers) became fuller. Additionally, layers of clothing became fashionable, meaning even more fine fabrics. This brings us to the next major trend in Elizabethan fashion- slashing. As I have mentioned in past posts, due to the high cost of textiles, clothing would often be altered and remade over and over to save on costs. However, if only small strips of fabric were left, they could not be remade. Sleeves and hose would commonly be made out of narrow panels, while petticoats and doublets would be decoratively cut and slashed, almost perforated. This rendered the fabric difficult to reuse, showing that the wearer was wealthy enough to always purchase new. Additionally, all of these gaps in garments allowed for the fabric beneath to be shown off.

The final iconic aspect of Elizabethan dress was padding. Women would wear padded rolls at their shoulders. These prominent accents would be bedecked in embellishments such as ribbons, beading, and even jewels. More padding was added around their hips, offsetting their long, conical bodices. Even men got in on the padding trend, adding thickness to their stomachs in a style known as the peascod belly. That’s right, Elizabethans were way ahead of the dad-bod trend (of course, in this instance it was more about showing that they had the ability to eat well.) All of this was in addition to the puffed-out sleeves.

This extreme fullness and the incredibly heavy fashions would fade out of fashion over the next several decades, however showing off wealth remained just as popular. It was merely done in a more delicate manor. Yet it is that bold, heavy look which makes Elizabethan fashion so iconic.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

givemepaperandpen  asked:

Hi! I stumbled across your blog and was just blown away by your art! I was wondering how you render fabric so well? Everything has such tangible volume, shape, and texture, and yet nothing seems super line-heavy or scribbly with a ton of detail.

First, thanks. Mighty fine of you to be blown away.  As far as fabrics and such there are FAR superior artists to watch and learn from.  I used to think I was the artist that had to learn everything about art.  Fabrics, drapery, color lighting, and just needed to have it all down.  I’ve come to realize that I am actually a designer and idea guy and not a straight up illustrator.  To me that means that much of my rules and painting thoughts revolve around getting the idea across as that’s the most important aspect and then I move on.  The thoughts and ideas rule over technique and know how.  So take this quick step by step break down and dirty lightly.  A means to an end. 

Other artists do it perfectly, immaculately and makes me weep.  I’m just not that type of artist, but here’s how I normally do the approach….

The Letter (1896). Ladislas Wladislaw Von Czachorski (Polish, 1850-1911). Oil on canvas laid down on board.

The hallmark of Czachorski’s style, and the basis of his fame, are his images of beautiful young women in rich interiors, painted with great realism. He has long been regarded a master of rendering fabrics, jewelry and other details to create the atmosphere of luxury and elegance.

Yoshitoshi (1839 - 1892)
Inquisitive: the appearance of a maid of the Tempo era, No. 13
Series; Thirty-Two Aspects of Women (Fuzoku sanjuniso)

Yoshitoshi’s Thirty-two Aspects of Women - Yoshitoshi’s finest series of bijin-ga, or pictures of beautiful women, Thirty-two Aspects of Women features illustrations of beauties in a lighthearted reference to the thirty-two notable features of Buddha. The women depicted come from all social classes, representing beauties from the late 18th century through Yoshitoshi’s own time.

Each design captures a woman in a scene from daily life, realistically and sensitively portrayed as individuals rather than idealized figures. Sumptuous fabrics are beautifully rendered, and hairstyles and facial features are drawn with the most delicate of lines. The series was beautifully printed using the most costly techniques, such as delicate bokashi shading, embossing, and burnishing, creating some of the finest prints of the Meiji era.

Thirty-two Aspects proved popular with the public when published in 1888, and has been appreciated by viewers and collectors ever since. Designs in this fantastic series are some of the most highly sought after woodblocks of the Meiji era, and are certainly considered great masterworks of Yoshitoshi’s career.

Au where McCoy is working in a hospital on a colony planet after his divorce. An escape pod crash lands and as he has the most xenomedical training he’s in charge of helping the half Vulcan inside.

It takes a day before Spock wakes up and introduces himself. By then McCoy had fixed up his insides well enough. Spock’s head had been fairly badly burned and he was wrapped up tight in healing fabric, rendering his temporarily blind.


“I would like to know exactly what you look like, Doctor, and the hospital, if you would.”

“Well, the room your in is white as all hell, you’re honestly not missing out on much there. However, I am a vision of beauty, true rugged handsomeness, and you’ve got that to look forward to.”

“In that case it will be quite an entertainment to see a face so different to the voice I endure.”


McCoy does as Spock instructs and informs Star Fleet of his whereabouts. He’s put through to Captain Kirk, who is immensely relieved and showers McCoy with gratitude.

McCoy spends his evening sitting with Spock, asking him about life in space. Spock asks him about his work on the planet. It takes twenty minutes and they’ve found something to disagree on.


“What are you doing, Doctor?”

“Finishing up a patient’s discharge papers.”

“Why are you here for that?”

McCoy paused for a beat. “They gave you the best visitor’s chair,” he finally muttered. Spock elected to not further the question. 


By the time the Enterprise makes it to the planet McCoy and Spock have decided they can’t stand each other, but McCoy is still in charge of his recovery. And finds himself returning to see Spock during his free hours regardless.

McCoy is witness to Kirk seeing Spock, still wrapped up like a mummy. McCoy has taken to calling him Pharaoh to have a go at him. McCoy doesn’t understand at all how Kirk can rely on Spock to this degree, especially when Spock is like he is. Unbearable. Yet Kirk clearly cares for him.

Kirk agrees to wait the one more day for Spock to recover. McCoy takes the bandages off his face that night and he’s healed well. McCoy spends some time removing the last of the cream and damaged skin and washes his face a few times, all the while griping and having a go at Spock because Spock can’t talk back right now.

Then when Spock is finally clean and able to see again, he looks up and has nothing to say, because he hadn’t expected beautiful blue eyes. McCoy finds himself speechless too, amazed at just how gorgeous Spock is. He manages to mutter something about Spock having healed up well and walks off quickly to get his head together. 

Kirk recommends that McCoy join Star Fleet. McCoy says that he wouldn’t want to chance running into Spock again, certain that Spock would hate that too. Spock then finds McCoy and offers to write a character reference that would ensure his acceptance in Star Fleet. McCoy agrees and a few string pulls later he finds himself on the Enterprise as Chief Medical Officer.

4

Earlier this week, NASA announced the results of the Exploration-class Space Launch System rocket’s Critical Design Review. The CDR verified the vehicle’s design so that full-scale fabrication can begin.

The new renderings above were released by the agency yesterday, and show the final appearance of the Block 1 version of the rocket. The orange coloration on the core stage is due to the unpainted insulation that coats the vehicle. This is the same material and colour of the External Tank of the space shuttle program.

anonymous asked:

WHAT IS CANON I AM VERY CONFUSED!?

OKAY I GOT A TON OF MESSAGES. THERE ARE TWO THINGS GOING ON IN THAT PIC:

So the (main) thing is that it’s the iconic Windows hill wallpaper. However, I’m to understand that the SSB image is actually photoshopped that way. Still funny though.

THEN THERE’S THE OTHER THING THAT YOU SAW IF YOU’RE ME AND I KNOW IT’S JUST THE FABRIC RENDERING BUT

HOLY SHIT

Confidants (1887). Władysław Czachórski (Polish, 1850-1911). Oil on canvas. Museo Nacional de San Carlos.

“The hallmark of Czachorski’s style, however, and the basis of his fame, are his images of beautiful young women in rich interiors, painted with great realism. He has long been regarded a master of rendering fabrics, jewelry and other details to create the atmosphere of luxury and elegance.” – The Kosciuszko Foundation

alia--styles  asked:

I ask just about everyone this, but when did you really start coming into your own art style? I'm 18 and I still struggle with drawing. It's extremely hard for me to grasp the concept of folds and shading and you do it so perfectly!!! Can you please give me some tips? Thank you <3

Hey I’m so sorry it took me forever to get back to you here- I wanted to take the time to actually answer and it sorta got away from me haha.

So something you said really stuck out to me, which is that you think I do fabric folds well.  Without knowing it, I think you just struck on one of the most bizarre parts of this whole art lark: we think we suck at the things other people think we’re good at. 

I constantly rue my folds, and am convinced that I’m bad at conceptualizing fabric volume.  I think what happens is we fixate on this interest, and then we become hyper-aware of it.  Every time someone does a drawing, I bet you study the clothing folds, right?  Me too.  Meanwhile someone who has no interest in drawing fabric wouldn’t even notice. 

So basically, our bar is higher. 

Here’s another part: this heightened interest is usually a good indicator of something you have the potential to be amazing at.  The thing people compliment me most about is my composition, when internally, it’s the thing I feel I’m worst at.  But my heightened awareness means I spend a lot of time thinking about and practicing it, so that even though I’m not measuring up to where I think I ought to be, that’s only because my bar is constantly being raised.

This is sounding pretty downery, but I actually think this is a really cool and good phenomenon.  Our art priorities sort themselves out.  Yours already are- I can see by your blog that you are really into fashion!  Bam!  Of COURSE you’re interested in rendering of fabric folds!  But I bet you’re already actually ahead of your peers there, and you just don’t know it.

Keep following your interests.  That’s all it takes to grow, and that’s all it takes to “come into your own art style.”  I 100% promise.