PeacockPrintFinishedCoatSmallFileFor an artist or small scale designer, digital printing on fabric that is now reasonable in cost is a dream come true. These images are more first foray into the new world of digital printed fabric.

These 2 images are from a combination of my paintings, scanned images of my pleated fabric and Photoshop manipulations.   I wanted to create border prints to use on a ¾ length coat design I have been working with. After some trial and error this is the results. I have included some notes with each one on how it was created. The fabrics were all printed by www.spoonflower.com. It took some time for me to figure out how I wanted the image to repeat. Spoonflower has a program on their site that will give you a few different kinds of repeats. What I ended up doing for both was to create a repeat that ran horizontally (cross grain) on the fabric and a basic repeat gave me the look of the border pattern I wanted down one side. My original images were 4”- 7” x 45” or 56” (the width of the fabric) @ 300 dpi. Spoonflower tells you the maximum file size for the image so I had to play with it a bit to get it to fit their requirements. My images ended up being around 200 – 250 dpi on their end.

original watercolor - 30" x 30"

original watercolor – 30″ x 30″


Created from parts of an original watercolor, scanned and manipulated in Photoshop. The size of the repeat was actually based on the garment pattern pieces and how many repeats and how big the bottom of the image would be on each pattern piece. This image was 4’ x 45” @ 300 dpi in it’s original state. I ordered 2 yards, which turn out not to be enough for the sleeves. The sleeves are a double layer iridescent chiffon (dark teal with olive under) plus a piece of the left over fabric for a border at the end.




Created from scanned images of my Shibori Pleated fabric and manipulated in Photoshop. “Arashi” is the image created by one of the pleating methods and translates to “little storm”. The original images is 7” x 45” @ 300 dpi. I am working on the coat now.



Kendrick Wang

Kendrick Wang

This is another in a series of posts about Mood Collages.

Understanding and being able to verbalize the elements of your own aesthetic helps you communicate your design messaging to others.

The images shown here are from my Costume Design class in the Entertainment Design Dept at Art Center College of Design.

also check out my VIDEO on YouTube http://youtu.be/vVm-6tX0eMo


 MOOD the designer tries to create a mood, and uses the elements of The Visual Story to act on the viewer to solicit a particular emotional response. Example: euphoria, excitement, dread, fear, longing, lust, love, etc… are emotional responses to visual messaging that can be enhanced by a deliberate use of The Visual Story Elements: color, surface, form language.

Liam MacDonald

Liam MacDonald

COLOR – colors within your mood collage should be compatible and similar in their intensity and clarity. They should be able to coordinate and “go together”.

  • It is best to talk about them in clear COLOR THEORY language.
  • Do not use “trendy” color names in the early stages of concept development as they can lead to confusion.
  • These kinds of names are assigned AFTER the message of the mood collage is set.
  • These color names usually reinforce the visual messaging of the color story.

Example #1: value, intensity, clarity, tones, shades, primaries, Secondaries, complementary, etc…are all clear descriptive words used to describe color properties. Example #2: Pepto-Bismol pink – is actually a magenta based red with a lot of white added to make it a “Tone”. If you had never seen Pepto-Bismol, how would you know what color it is? SURFACE – describes the properties of the materials including: smooth, rough, opaque, transparent, heavy, light, bulky, stretching, stiff, soft, fuzzy, shinny, etc…

  • In apparel this describes the “hand” of the material or how it feels on the skin.
  • Because apparel is driven by the wearer, it is one of the more kinetic design forms.
  • In this case the Surface and the Form Language work together to create movement.

FORM LANGUAGE – describes the shape, silhouette and flow of the design.

  • Fabric draped over a form creates folds that may lead the eye to a center of interest.
  • Shapes and visual flow can appear curvy, angular, geometric, straight lines, tight or open curves, complex or simple.
  • The complexity of the shapes can appear minimalistic or concentrated and active.
  • The weight and drape of the material enhances the perception of the form language.

The Drawing Club is moving to Gallery Nucleus in January 2015.

We have scheduled a book signing/ first workshop for Thursday January 8, 7-10pm.bob book cover

ALL of the artists in the book have been invited to be there and participate in the book signing.

The Drawing Club’s New Location
Gallery Nucleus
210 East Main Street
Alhambra, CA 91801
(626) 458-7482

50's French Fashion - charcoal illustration

50’s French Fashion – charcoal illustration

I have been attending The Drawing Club for many years and I am thrilled to announce the new book of work by 66 artists from www.thedrawingclub.com.   My spread is on page 127 and the book is available through Amazon THE DRAWING CLUB BOOK
Look inside the book – http://www.thedrawingclub.com/the-book/


PVACSignaturesFrontNOV2014-Check out my new designs for the



SUNDAY, NOVEMBER 9, 2014 – 12:30 pm

In The Atrium – Palos Verdes Art Center

Mardi Gras Themed Fashion Show, Champagne Luncheon and Boutique



$45 ( early bird rate $40 by Oct 27)


or by phone – 424-206-9902


to see more about my painting technique also search “painting on organza” in this Blog



Detail - hand painted organza Kimono Coat

Detail – hand painted organza Kimono Coat


bob book coverStorytelling, which is used extensively by artists in the Entertainment Design field, is something which is also in Fashion Art. It may be more subtle than an animated character but it tells a narrative just the same.

I have been attending The Drawing Club for many years and I am thrilled to announce the new book of work by 66 artists from The Drawing Club in Glendale, CA. My spread is on page 127 and the book is available through Amazon starting Aug. 15, 2014.


Look inside the book – http://www.thedrawingclub.com/the-book/


50's French Fashion - charcoal illustration
50’s French Fashion – charcoal illustration



Fashion illustration tells the story of the woman or man wearing the clothes. Who are they? Do you want to know them? Do you want to be them? These are many of the questions a really great fashion Illustration can elicit. Fashion is subliminal messaging. The customer is “told” a particular story to entice him or her to BUY the object…and the message.


  1. Body language – physical movement or action driven by the cut and fit of clothing
  2. Physical distance (hoop skirts)
  3. Touch – feel of fabric on skin (Bridal satin as soft as buttercream)
  4. Sound – (rustle of a taffeta ballgown)
  5. Smell – most primitive – connection between smell, memory & mood (fabrics like leather and wool have a definite smell that may elicit an emotional response due to a strong memory)



The most intimate of design forms. The wearer changes the clothing to conform to their body and personality. The designer’s vision becomes blended with what the wearer brings to it. Symbols & Signs with cultural significance have specific meaning to a group based on cultural identity

The Wearer – puts it all together to produce an appearance and may assign meaning to that appearance. The Observer – May or may not read the meaning, and may have his/her own interpretation.




–Protection – environmental

–Modesty – cultural

–Attraction – biological drive to find a mate

–Identity – age, gender, lifestyle, group affiliation



GEST003URE & MOVEMENT are everything in fashion illustration.

The counter balance of the angle of the hips vs the angle of the shoulders is at the heart of it.


LINE, the most important part of many fashion illustrations tells the story of the materials.



Drawing clothing is not just about accurate drawing of details.

It is also discovery of the sensual nature of clothing: the “hand” of the cloth, the drape, reflection, transparency or opacity.

All these things are important for the artist to express either as detail or a hint of what that sensory experience is.

A thin delicate line evokes a lighter than air chiffon summer dress.

A thick textured line can indicate the heavy, nubby wool of a winter coat.



1960's theme

1960’s theme

The wrong COLOR can date an illustration faster than anything else. Pink for example comes in and out of fashion but it is always a little different, more warm or cool, high or low intensity, and always associated with a particular time period.


SHAPE: FORM LANGUAGE & SILHOUETTE are also indicators of a time period. The graceful curves of the hour-glass shape, especially in the 20th Century, tended to alternate almost every decade with the straight line rectangle or triangle. The hour-glass of The 1950’s Dior New Look gave way to the straight line geometry of the 1960’s.



PROPORTION Elongating the figure in any illustration gives that person more importance, attitude, and dominance of the space around them. Fashion students do however have to be careful to distinguish between hyper elongated figures to sell the lifestyle message and the reality of the proportions of the real garment for a real human.



FASHION that becomes associated with a particular time period and aesthetic becomes COSTUME once it is out of date as contemporary style. When a person dresses in a way that disguises who they are, so that they become someone else, it is considered COSTUME

Marie Antoinette - charcoal - from a live model

Marie Antoinette – charcoal – from a live model

FASHION is a prevailing custom or style of dress, etiquette, socializing, etc.: the latest fashion in dresses.

COSTUME is a style of dress, including accessories and hairdos, that are particular to a nation, region, group, or historical period.




To see class demonstrations or more fashion sketches FIND ME ON: INSTAGRAM & FACEBOOK

Also look for my DRAWING FASHION E-books on LULU.COM

DisneyComposite - Copy

Watch video of the


JUNE 30, 2014




Drawing “

through http://wouldyourockthis.com/





Meetup.com | Participants must pre-pay to RSVP for drawing event.

Also join me Saturday, June 28, 5pm @ The Met. to see the exhibit.







follow Justine on Instagram- http://instagram.com/justine_limpus_parish



This will coincide with the fabulous exhibition at The Metropolitan Museum of Art








Anouk Wipprecht

Anouk Wipprecht

I just came back from a 3 day conference in San Francisco on SMART FABRICS & WEARABLE TECH.  This is just a sampling of some of the work that I found there.  There was SO much more.  Here is a link to the conference itself http://www.smartfabricsconference.com/smart-fabrics-2014-in-san-francisco.aspx

For info on what Art Center College of Design is doing with Wearable Tech http://artcenter.edu/dot/wearables.php


Here are some thoughts on Relating Tech back to Fashion

Julia Koerner in collaboration with Iris van Herpen and 3-D printing Co. Materialize

Julia Koerner in collaboration with Iris van Herpen and 3-D printing Co. Materialize

Vuzix Corp. - Smart Glasses

Vuzix Corp. – Smart Glasses

1. The future of manufacturing

  • Wearables: the first native industry of the new manufacturing

  • 3-D printing, intelligent robotics, digital parts, open source design, active supply chain, blue tooth connections to devices.

  • In 10 years 3-D Printing will be 90% cheaper

  • Robotics already 90% cheaper than in 2005

  • Shift to regional factories – small-simple-local

  • This means that the trend of fashion manufacturing returning to LA should increase.

  • The order in which designers do business – Sell it before you make it.

    • build a team, dream it, draw it, sell it, make it, ship it (from Sonny Vu, MisFit Wearables)


Flexible OLEDs - Universal Display Corp.

Flexible OLEDs – Universal Display Corp.

2. Shift in concept approach and terminology as it relates to Fashion.

  • Terminology – “Elegant” refers to invisible and light weight

  • purpose of wearables – but what order will these need to be in for Fashion Industry?

    • Self expression – aesthetics/fashion/elegant

    • Utilitarian – comfort & protection – (new) washable

    • Identity – brand or tribe association

    • New – its useful

    • New – data

Elastolite - EL lighting - Oryon Technologies

Elastolite – EL lighting – Oryon Technologies

3. What is needed for Fashion

  • ability to use textiles as a platform for sensor

  • improved for touch, fabric weight, drape, stretch, wash-ability

  • convenience risk of overwhelming the user with technologies

  • battery size and weight

  • improved materials for 3-D printers

  • what about high end customers fixation on “luxury” materials?

  • Eco fashion and 3-D printing…what materials, recycling issues?



Janet Hansen, Enlighted Designs - Smart RGB LED Pixel Systems for Wearables.

Janet Hansen, Enlighted Designs – Smart RGB LED Pixel Systems for Wearables.

4. Speakers I was most interested in

  • Flexible OLEDs – Dr. Mike Hack – Universal Display Corp.

  • Anouk Wipprecht – Couture – also her association with AutoDesk – Pier 9 – SF

  • Julia Koerner – Suprastudio, UCLA – collaborations with Matierialize and Iris van Herpen

  • Sonny Vu – MisFit Wearables – Getting a Wearable Product to Market

  • Paul Brody – IBM – open souce design and 3-D printers.


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