So now I'm going to draw a very simple outfits because our next phase is going to be about, uh, rendering color, so we need something to render color in. And we also want to talk about how we get our sketch transfers, so if you bear with me for a second, um, we go way back, okay, so I was gonna do a very simple outline. Hey, and I'm very purposefully going to work in just one color because when we transfer, um, we're going to use the actual colors were going for, so I'm gonna create this little I'm pierre airline, I mean, airline a line outfit on let's. Just do a little scoop, keep it very simple and yeah, okay, okay, so it could not get more simple than this, and you would do all the information for your sketch. You do a nice little sketch, and then we have the light board here and again because you don't have to do everything freehand you could build way would put this sketch underneath, and we normally we could work with any kind of heavier paper, and we can position this sketch, um...

, where we wanted on the page and for the transferring, we want to give ourselves clues for when we start drawing, and we also want to make it it's so light that we barely can see it I mean we can see it as a guide for color all right so here I'm going to follow all the areas I see skin in where the skin tone pencil or something close I'm gonna switch off and make her a redhead and again just transfer over basic information maybe put in her details and then work with the colors that I'm actually creating the garment in at least for the sketch and you don't have to trace out again with those like a heavy line you could just do these little directions that give you the essence of the direction for that line you could in the beginning just actually trace out every single line but even if you do that in the first process at at this point you can get a little lighter and use that quality of line let's say I choose a different color for the bottom ok, so I think we have enough there to work with so when we're working on um the solid white paper not the tracing paper then we could start to introduce color and we we can treat it almost like a coloring book were filling in that base color that we're going to be building texture and shadow and all these kinds of good things so the idea behind rendering color at least so that you can get comfortable with it is to transfer over the design used the colors as a guide and then that's your frame and then you fill that shape with the right color and then we can shadow so I'm gonna go ahead and select my colors you could do a little taste and all I'm doing is filling in the background, not worrying about every little hair and just thinking about what that middle color is keep on going and you might want to do all the base color first and it's also important to remember that whatever the medium is, I'm using markers because they drive really quick please, and they're great for a demo but you khun do all the coloring in with watercolor or whatever uh, medium you want to use. The other thing that I try to do is follow the green of the fabric so for instance, I tryto follow the shape so it's going in that direction ah lot of times that can help with I'm not having sort of splotchy nous that doesn't feel like the fabric and finally it's gonna work on the half so you could see all the levels of it yeah, studio go ahead. So I was just wondering if I know you said that a lot of times you start out with color pencil and and was it, but do you try for the most part to stick with one type of utensil like all water color all marker like doesn't get her sketch or different per sketch like I feel like michelle excited I would say yeah I would say for um you don't usually mixing uh watercolor and mean and marker could be a little difficult unless you're doing something very specific but I wouldn't rule anything out I would think you just want a formula like I've had students who basically say they're going to do all their skin tones in water color because they like the way that looks and then do all the clothes and marker and the contrast is so long as it's consistent can be really nice and here for the for the feeling of color I can always come up to meet and to fill this so that we're blending back and the streaking actually works for us wait the size the bottom so now we've worked basic color kind of almost like a you know a coloring book now we can add a little bit of shadow shadows are something you probably uh you don't have to add they can get a little heavy sometimes I always try to think of a light source so if we have light coming in in that direction from the upper side then shadows they're going to be on this side so this arm I might add another layer of color so it gets a little richer I might add a little shadow underneath. A bust on the side for her skin I might give her a little shadow underneath her um her chin to kind of bring it out I might give her a little shadow for her cheekbone bridge of her nose not doing the other eye but you give her so the hollow of her eyes and and here we really have the foundation for everything we would finish off with pencil because we have that full color filled in what type of markers you were using I oh thank you that's a good question because I I use primarily prisma color I like the quality of them I know that there are more genetic derek versus to be honest the quality for most of those high end markers are pretty consistent but I just grew up you know started it all with prisma color the same thing with the pencils but there is a whole range of specialty pens which I actually kind of have a few of them here um there's so many but like when I'm doing metallics or white it's or anything like that this these all play into the process afterwards so they're like little highlights and little you know if I want to do beadwork so actually let me play a little bit if I was doing bringing instead of a gold bead I might take a metallic and then here I might be putting in detail depending on where the design wass and because it's really hard to find exactly the right color with regular markers, so sometimes you have to go into colors. They're going to sit on top. But the key to this is you don't want to use these kinds of markers for your base color because there's nothing to build on. They completely obliterate the sketching, and they take over. So these kind of heavy, like metallics, or even I have a very cool, um, white pen on, and I'll do it over here, which actually is one of the few times I mean, phew, phew. Ways for you to get white on top of a dark color and he's, a really great, these particular ones or galaxy markers. They have white, have black metallic, but that's. How you can kind of embellished, but the baseline are these prism of color and the prison color pencils.

Class Materials

Bonus Materials

Mood Board Checklist

Styling and Fashion Show Gear Guide

Bonus Materials with Purchase

Body Measurements Chart

Care and Feeding of a Garment

Change Agents

Copy Rights and Copy Culture

Dissemination - FashionArt

Fashion Equations.pdf

Fashion Show Checklists

Question Charts

Specializations - The Players

Starter Questions Chart

Pattern Making Gear Guide

Sketching Gear Guide

Sewing Gear Guide

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Jay Calderin

The Boston Globe refers to Jay Calderin as a budding designer's best friend. He is the author of The Fashion Design Reference and Specification Book formerly Form, Fit, Fashion, which the LA Times called, a new fashion bible for designers, aspirers and the just plain curious, this tome contains all the secrets. It was followed by his second book, Fashion Design Essentials, and a collaboration on a third book entitled, Fashion Design, Referenced. The first two books have been translated into German and Chinese. He is also a contributor to Native Fashion Now, the book that accompanies the Peabody Essex Museum’s upcoming exhibit of the same name.

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topics covered in this class

Fashion Design

Ratings and Reviews

Abbeylynne

Jay is a rare gem in the world of instructors. He has the perfect balance of information, examples, and hands on visuals. He included his students in the teaching process. They were not just the audience. Even the viewers were encouraged to participate! I loved his teaching style and enthusiasm as well as the content of information he shared with us. He covered a vast amount of information and led us at a pace that was very easy to follow. It reaffirmed my love of fashion as well as designing new ideas. This class was inspiring and motivating. If you are even the slightest bit curious about Fashion Design, constructing patterns, or even drawing models, this class is for you. It was all encompassing for an overview of Fashion Design from start to finish. Jay has an easygoing manner that you will want to watch him again and again. A great resource for your library. I can't wait to see him again in the Creative Live classroom!. Good luck to Jay and all his endeavors! Thank you Creative Live for providing yet another great learning opportunity for an international audience.

Michelle B

This is day one of Jays class and I am already hooked and purchased this class. Jay is an awesome instructor. He explains everything in easy to understand terms. He explained things that I have bought books to learn and didn't in one easy lesson. I recommend this class for anyone that has a interest in Fashion design or even learning to draw models for anything you need to sketch out. I hope Creative Live will bring Jay back for more classes. Jay is a instructor also worth having in your tool box of CL classes to refer back to for learning and inspiration! Thank You Jay for sharing your knowledge with us!!

Anji

I agree with everything that michelle-b said in her review of this class, and will add that I can tell that he is an instructor who not only knows his subject matter, but has excellent teaching skills. He is very engaged with his students, and focused on making sure that they get what he is telling/showing them. He also has the rare gift of distilling a complex subject down to its essence and teaching it in a simplified form that gives the student a good overview of the basics, and somehow also gives the student insight into more of the subject’s depth than he actually says in words. This broader understanding of the subject empowers the student to proceed on a much higher level than would be possible after taking any other course overview. Even more amazing is that the lessons covered in this way could be (and are) full courses in themselves elsewhere, but were merely segments of this two-day CL class. For this reason, if I ever got a chance to take one of Jay’s classes at the School of Fashion Design, I would take it in an instant. I too bought this class by the end of Day 1. For me, the segments on sketching and drafting alone were worth the $69, and the rest is bonus.

2,000+ classes ranging from fundamentals to advanced techniques.

Drawing: Render Color

Drawing: Render Color

Lesson Info

15. Drawing: Render Color

Lessons

Intro to Fashion Design Inspiration: Where to Begin

Why Create a Moodboard?

Student Mood Boards

Fashion Inspiration Resources

Learn from the Masters of Fashion

Explore New Fashion Frontiers

Why Narrow Your Focus?

Find a Fashion Specialty

Craft a Collection

Learn to Edit

Intro to Making Fashion: Draw, Draft and Sew

Why Start with a Sketch?

Drawing: Draw Your Muse

Drawing: Sketch a Figure and Define a Silhouette