I wanted to experiment with Pro markers as this is one of Victoria Jenkin’s vital tools to create her signature illustrations. In order to do this, I broke down the process and taken it step by step, showing the process of how Victoria completes her illustrations. Below is the image I am going to recreate:
The first step I carried out was drawing the outline in pencil. This ensures the drawing was in proportion before I added any pen or colour. I wanted to create the exaggerated body that Victoria created, with the dress being long, this created an illusion of longer legs. I ensured the model has a small waist in comparison to the rest of the body as this is one of Victoria’s illustration’s main characteristics. I ensured the detail of the dress was also outlined in pencil as I wanted to challenge myself after by using pantone markers on this dress to creating shadow and light.
The next step I carried out was going over my drawing in fine, black pen. This created a more animated and clean finish especially after I erased out the pencil lines. I believe this is a method Victoria uses before she adds any colour to her illustrations. I think this method is very effective as finishes the drawing very well and it means when I add colour, I can clearly distinguish different areas to apply the correct colours in comparison to a light pencil outline.
The final step I carried out was adding colour using Pro markers. I haven’t used Pro markers in a couple of years so it took me time to get used to it. I started off with the skin tone and tested various skin tone colours on a blank page to achieve the best match with Victoria’s illustration. I ensured I left white spaces to create light on the model and to create shadow, I would layer colours of marker on top of each other so the colour appeared darker. I then moved onto the dress which in my opinion was the most difficult area to add colour to. This is because in the original image the dress was very detailed and had a lot of light and shadow to create that 3D effect. I used the same method to add colour to the dress as I did for the skin tone, leaving areas white to create light and layering layers of colour to create shadow. Lastly, I added colour to the hair which I found relatively easy as I got used to the markers more by this stage.
Overall, I am very pleased with the outcome of this illustration. The pantone markers work very effectively in order to replicate Victoria’s illustrations. One thing I would change is I could complete the illustration by cleaning the drawing using Photoshop as I think this is a technique Victoria uses.
To understand Cedric Rivrain’s technique of combining hand drawn illustrations with Photoshop, I sketched an eye with pencil in the style of Cedric’s work and scanned it into Photoshop.
I noticed Cedric’s illustration’s have very defined eyes and I wanted to recreate this. I found the drawing in pencil was very light and lacked life and definition. I experimented with different tools in Photoshop to enhance my drawing.
To achieve this, I started off by adjusting the curves until I was happy with the result. This created more definition in the eyes and also darkened the pencil lines. I think this method is pretty effective as it makes the eyes more eye catching and life like.
I wanted to experiment with different media in order to re-create Sabine Pieper’s illustrations. In order to do this, I broke down the process step-by-step. I started off by using the below image as a reference:
I chose this picture because I liked Sabine’s use of colours and I thought the enlarged image of the illustration beside the full length illustration was also very effective.
The first step shows the outline of my drawing using pencil. Sabine uses this technique first to ensure the proportion of her model is correct before adding any colour. Her illustrations have elongated legs, big hair and small waists which are features I wanted to ensure my drawing included.
For step two, I used water colours to add colour to my illustration. This was my first time using water colours in over 5 years therefore it took me a while to get used to how it worked. However, once I got used to the water colours, I found this process thoroughly enjoyable. I enjoyed building depth by painting layers of water colour on top of each other. I also enjoyed mixing various colours together to achieve the desirable colour I was looking for. I found the trick to using water colours was patience- allowing the water colour to dry and building layers on top of it to create a more 3D effect. Another trick I learnt from this process was ‘less is more’, as I painted light strokes of colour and allowing some spaces left white to create light in the drawing.
The final step of my drawing involved going round the outline with black pen and adding skin tone. The black outline makes the illustration more defined and stand out. I also think it compliments the water colours used as it creates shadow and more of a 3D effect. The skin tone of the original image is very minimal so I decided to use pencil for this to create shading and lighting. This is one of my favourite methods and I think this adds more dimension to the illustration especially features such as the legs.
Overall, I am very pleased with the outcome of my illustration as a first attempt. Although I did not use Sabine’s signature technique of combining hand-made illustrations with digital photoshop technology, I thought the use of watercolours, pencil and black pen was very effective and allowed me to experiment with different media.
Cédric Rivrain’s illustrations demonstrates meticulous attention to detail with delicate shading using fine pencils and gouache. He commented on the use of pencils in an interview and said, “what I like about pencils is the childish feeling of it.” I think his drawings portray simple, easy gesture yet outstanding precision which are the main reasons that attract me to his illustrations. He also said he uses an eraser a lot as he doesn’t like to be too descriptive in his drawings, he likes to keep it relatively simply and essential.
I think the first things that grabs your attention about Cédric’s drawings are the eyes- piercing, emotionally and fully alive. He once said, “I am obsessed with eyes. Eyes are for me the essence of a person. When I draw someone I focus on their eyes and the way I see them looking at me.”
More of Cédric Rivrain’s work:
Cédric Rivrain is a Paris-based artist who has been drawing since the age of 18. He has illustrated and designed for prestigious fashion houses including John Galliano, Martine Sitbon and Yazbukey. His father was a GP therefore, he immersed himself in his father’s medical books, learning the articulations of the human form by drawing them with precision. He combined this background with his fashion experience to create work of his own such as self portraits of friends including Natasha Ramsay, Masha Orlov and Lily Cole.
Dazed Digital carried out an interview with Cedric Rivrain and found out some more background information on the illustrator.
Dazed Digital: How did you become an illustrator?
Cédric Rivrain: My first illustration was actually a double spread for Dazed and Confused. My friend Yaz Bukey, the jewellery and accessories designer, was offered this double spread to express herself. She liked my personal drawings and thought it would be a more poetic way to introduce herself – to have me drawing her and her fantasy world. That is how it all started.
DD: What inspires you most in your work?
Cédric Rivrain: My friends inspire me a lot. I like them for their beauty, their strength, their sensitivity, their inner world,
their creativity and their slight craziness. I choose people I know. I need to be moved by them. Especially for this exhibition, all the models have been close friends of mine for years. They all inspire me and mean a lot to me; those bandages and hands are my way to eternally protect and heal them. That is what I like about drawing. You engrave something for eternity. I also got a lot of my inspiration from my childhood, the mix of cultures my mother and father gave me were both very different. He was a passionate doctor and my mother was a very feminine woman who dressed in designer clothes and to whom appearance was very important. I grew up in a house full of antique medical books, illustrations, models and instruments. I guess drawing is my way of immortalising the particular culture my parents gave me. Eyes are also extremely important to me. Here again, my parents ones were the very beginning of this obsession. Theirs were both very clear, very expressive. I always knew how they felt just by looking at their eyes. Eyes are for me the essence of a person. They say everything. Expression of life lies in them.
DD: Can you tell me something about your subjects, how do you choose them and why?
Cédric Rivrain: It always comes naturally to me. It is a question of feeling and immediate envy. I do not anticipate too much when I work on a story. I let my hand ‘write’ it on the paper. I never really do sketches beforehand. When I start a drawing, I work on it until I feel I have said something through it. It is at the end that I understand myself what the whole thing was about. It just needed to come out, like a story to be told. But I guess it always relies on my own culture and fantasy. Like every artist, I have my inner world and drawing is my way to make it concrete, to make it alive.
Victoria Jenkins illustrations are undoubtedly so polished that is hard to believe that they could be achieved using simple pencil, fine liners and pantone markers. Victoria uses computer softwares such as Photoshop to simply clean and polish her work however, she does not edit the image too much so this does not compromise her original drawing. Victoria’s models display long legs, luscious hair and small features which are elements which draws me to her designs. Victoria also likes to emphasise her model’s cheek bones which makes her illustrations more authentic and eye-catching.
Victoria tends to use neutral colours such as black, nude and grey throughout her illustrations and only a couple of main colours are incorporated in each illustration. The skin tone created is also relatively pale which makes other colours used stand out effectively. Overall, Victoria’s illustrations are best described as effortless and unique. The combination of high detail, choice of simple media and neutral colours have become Victoria’s signature illustration style.
More of Victoria Jenkin’s work:
Copyright of images:
I was initially attracted to Sabine Pieper’s work due to her use of mixed media throughout her illustrations. After analysing Sabine Pieper’s illustrator style and technique, I found out that she combines hand-made illustrations with digital photoshop technology. Pieper’s illustrations are very defined and sketchy and she also likes to emphasise certain features such as the eyes, cheek bones and lips.
Pieper’s fashion illustrations demonstrates unique symmetric structure and the use of strong colours shows the beauty, feminity, softness and energy of women.
She also uses shading and and leaves certain parts lighter to create a contrast from darkened areas again in areas such as the eyes, lips, neck and collarbone.
More of Sabine Pieper’s Work:
Copyright of images:
Sabine Pieper was born in Germany in 1980 and is a Berlin-based illustrator. Sabine started her career as a photographer and she was always particularly interested in drawing and fine arts. Sabine had her first daughter and carried out almost ten years of work experience in this industry. She then decided to follow her passion and focus on illustration in 2010. Sabine’s signature style became noticeable as her work was influenced by photographic technics and mixing media, creating a soft effect.
Sabine has worked for well-known clients in the fashion industry such as Valentino and vlisco, she also created illustrations for magazines including Harper’s Bazaar, Elle and Flair. Sabine’s work has been featured in international publications by Taschen, Gestalten and Monda. Since 2011, she took part in exhibitions globally including London, Berlin and New York.
Victoria Jenkins is an illustrator based in London and she specialises in fashion and model illustrations. Victoria studied art and design at school but was always passionate about fashion. Previously, Victoria has worked with some of the world’s most famous names on the catwalk including Dolce and Gabbana, Versace, Roberto Cavalli and Moschino.
In 2010, Victoria decided to embark on trip around the world after working in the industryfor 10 years. She visited countries such as Australia, New Zealand, Fiji and Hawaii.
Victoria returned from her trip and decided to revisit her creative passion and started to sketch whilst making use of the new online platform at the time- Instagram. At present, Victoria has produced fashion illustrations recognised and endorsed by Khloe Kardashain, Roberto Cavalli, Jourdan Dunn, Paris Hilton along with many fashion bloggers including Chrisspy and Huda Beauty. Victoria also took part in various design projects and collaborations and has featured in the press including The Alchemist.
Victoria now lives in London with her husband and children and is continuing her passion for fashion illustrations.
One of the trends predicted for Spring/Summer 2018 is infinite- but what does it mean? Infinite is defined as limitless or endless in space, extent or size; impossible to measure or calculate.
Technology is constantly evolving and advancing, therefore it could be considered infinite.The colours in this trend consists of more basic and neutral colours such as black, white and grey.