Fashion Illustration

  Fashion Illustration Week 1:

MIB:

For our Fashion Illustration module (DST64104) this semester, the core objective is to develop our proficiency in visually communicating fashion design concepts. This will be achieved through the exploration of diverse illustration techniques and media, encompassing pen, colored pencil, and marker applications across three progressive assignments. The learning environment will be primarily studio-based, supplemented by online resources via TIMES, necessitating a minimum attendance of 80%. Assessment is weighted towards continuous evaluation (60%), focusing on the completion and submission of these assignments, culminating in a final illustration project (40%) that integrates learned techniques. Throughout the module, emphasis will be placed on cultivating independent learning, creative problem-solving, and adherence to academic integrity, particularly regarding plagiarism. The final project will require a comprehensive application of acquired skills to illustrate a design concept, drawing upon prior coursework.

Lecture Class:

In our very first class, our lecturer guided us through the course outline, giving us a clear picture of the assignments, deadlines, and expectations laid out in the MIB (Module Information Booklet). It was during this introduction that we were encouraged to kick off Assignment 1. One of the initial techniques we learned was one-way hatching, a basic yet essential method in black-and-white illustration that helps create tone, depth, and texture using just parallel lines.

One-way hatching is all about drawing lines in a single direction—usually diagonal—to gradually build up shadows and define shapes without relying on color. The way you space and density of these lines determines how light or dark an area looks, providing artists with a way to suggest volume, contour, and the direction of light. This technique is especially crucial in fashion illustration and technical drawing, as it effectively communicates the material qualities of a garment and how fabric drapes with both clarity and elegance.

To put this technique into practice, we were assigned to find an existing black-and-white illustration and replicate it using one-way hatching. This exercise wasn’t merely about copying a drawing; it was a chance to train our eyes to notice tone and detail, while also honing our control and consistency with pen strokes. It laid the groundwork for developing our illustration skills and set the stage for the rest of the semester.

Practical Class:

Fig 1: Stage 1, Skribbling

We kicked things off by picking a fashion editorial image that our lecturer had given the green light for our assignment. Once we had it all set, we turned the printout over and took a soft graphite pencil to scribble all over the back of the paper. This step is super important because it creates a kind of DIY transfer medium, much like carbon paper, which lets us trace the image onto another surface.

Fig 2: Stage 2, Outlining

After giving the back a good coat of graphite, we laid the printout face-up on an A3 illustration board, making sure everything was lined up just right. To keep it from moving around while we traced, we used some masking tape to hold it in place. Then, with a pencil in hand, we carefully traced the outlines of the fashion figure and the key design elements right over the printout. As we pressed down, the graphite from the back of the paper transferred onto the board, creating a light but precise outline of the original image. This sketch became our rough guide for the hatching. like this:

Fig 3: Transferred Outline

Fig 4: Hatching 

With the outline now set on the illustration board, we dove into the hatching process. Using the one-way hatching technique we had picked up earlier, we started shading each part of the image in a consistent direction. This meant we had to pay close attention to line spacing, stroke pressure, and rhythm to keep everything visually balanced and to add depth to the illustration. By carefully layering evenly spaced parallel lines, we managed to create contrast, texture, and dimension — transforming a photograph into a stylish black-and-white fashion illustration.

Reflection:

Fig 5: First Attempt in Hatching

As you can probably tell, I really struggled with this first assignment. Despite being someone who genuinely enjoys sketching, this exercise challenged me in ways I hadn’t expected — and, frankly, it was tough to look at my initial outcome. One of the biggest hurdles was working with pen. Unlike pencils, where you can blend, erase, and gradually build depth, pen work felt intimidatingly final. Every line felt like a commitment, and that fear of making irreversible mistakes made me overly cautious.

At the same time, I was trying to understand why my hatching lines weren’t aligning in a consistent direction. The one-way hatching technique required a steady rhythm and control — something I was clearly lacking in this attempt. My strokes were uneven, sometimes overlapping or drifting off-course, and that inconsistency significantly affected the overall dimensionality and clarity of the illustration.

As a result, my final drawing looked far from the reference image I had started with. It lacked proportion, depth, and cohesion. Through this experience, I realized that I needed to improve not only my directional line work and shading technique, but also develop a better understanding of how to layer different pen thicknesses effectively. The ability to create contrast and emphasize certain areas using fine liners of varying weights is something I now see as essential for building dynamic and impactful illustrations.

Though the outcome was disappointing, it gave me a clear sense of the skills I needed to develop — and, more importantly, it pushed me to get out of my comfort zone and confront my fear of making mistakes with ink.

 Fashion Illustration Week 2:

MIB: 

This week, we’ll be learning and practicing dry media illustration techniques, with a focus on hatching. We’ll continue developing our figure drawing skills, including body proportions, tracing, and tone marking. In tutorials, we'll be selecting reference images and working on our final illustrations through sketching and trial-and-error. We’re also expected to start documenting our creative process on our academic blogs and begin sharing progress in real-time through a dedicated social platform.

Lecture Class:

Our lecturer kindly took the time to re-explain the hatching technique for those of you who were still struggling. He shared some helpful tips to refine your approach, emphasizing the importance of consistency in line direction, pressure control, and understanding tonal value. These tips really helped you reassess your technique, and here are a few personal methods you used to improve your hatching:

Measured Guidelines with a Ruler

You began by using a ruler to lightly mark out spacing—every 1 to 2mm—along areas that required consistent line work. This helped you maintain a more even distribution of lines, especially in larger shaded sections.

Freehand Shading Based on Tonal Value

After laying out the guidelines, you filled in the areas freehand, focusing on the tonal contrast in the original image. For darker areas, you pressed slightly harder or layered more lines closer together. For lighter sections, you used fewer strokes with lighter pressure.

Dotting for Smaller Areas

In tight or delicate spaces where full lines felt too harsh, you used a dotting technique. By adjusting the density—placing dots closer for darker tones and farther apart for lighter ones—you were able to suggest shading without overcrowding the area.

These small techniques helped you gain more control over your illustration and made the hatching process feel less intimidating. It’s still a work in progress, but you can already see improvement in your line work and tonal variation.

Practical Class:

I dove into my second attempt, this time really focusing on the fantastic tips the lecturer had shared. I approached the illustration with a lot more intention—paying careful attention to the direction of my lines, the spacing, and the tonal values.

A great piece of advice from a friend nudged me to grab a finer pen for my base layer. Since the editorial image I chose was packed with intricate details and textures, using a thinner pen helped me capture those delicate elements with more precision. Starting with the fine liner gave me a clean and accurate foundation to work from.

Once I had the finer details down, I gradually brought in thicker pens to add shadows and depth. This layering technique not only sharpened the clarity of my drawing but also gave the illustration a more three-dimensional and polished look. I started to realize how crucial it is to pick the right pen size for each stage—it really makes a difference in the final result, boosting both precision and contrast.

With every attempt, I could feel my confidence building, and the whole process of trial and refinement was bringing me closer to a more successful and expressive illustration.

Reflection:

I attempted to add guidelines this time, though admittedly not as meticulously spaced as the recommended 2mm. Looking back, I realize I was a bit impatient—rushing slightly due to the pressure of the upcoming submission deadline. Despite that, this second attempt showed noticeable improvement compared to my first. The decision to use a finer pen made a significant difference, especially in capturing the delicate details of the embellishments in my reference image.

However, even with these improvements, I wasn’t fully satisfied with the final outcome. The transitions between each line still didn’t feel as smooth or cohesive as I wanted them to be. There were areas where the direction of the hatching didn’t blend seamlessly, which disrupted the overall flow and dimensionality of the illustration. It became clear to me that beyond just the tools I used, I needed to slow down, plan more intentionally, and give each section the attention it deserved in order to reach the level of quality I was aiming for.

 Fashion Illustration Week 3:

MIB

This week, we’ll be learning and practicing dry media illustration techniques, with a focus on hatching. We’ll continue developing our figure drawing skills, including body proportions, tracing, and tone marking. In tutorials, we'll be selecting reference images and working on our final illustrations through sketching and trial-and-error. We’re also expected to start documenting our creative process on our academic blogs and begin sharing progress in real-time through a dedicated social platform.

Practical Class:

Fig 1: Third and Final Attempt

In this class, our lecturer allowed us some dedicated time to finalize our illustrations on the illustration board, so we went straight into our practical session without a lecture.

By this point, I had already transferred my drawing onto the final illustration board due to time constraints from the previous class. Knowing that this was my third attempt, I was determined to do it right. I approached this session with a clear mindset and stronger intention—to refine my work and aim for the best possible outcome.

I made the conscious decision to fully commit to the proper technique this time. I carefully measured and drew guidelines spaced exactly 2mm apart, just as our lecturer had recommended earlier. Slowing down and taking my time made a huge difference. I wasn’t rushing like before—I focused on building each layer of hatching patiently, paying attention to the direction, pressure, and tonal value of every line.

This attempt felt more intentional and controlled, and while I knew there was always room to improve, I could see real progress in my technique. It was satisfying to finally see my effort reflected in the final piece.

Fig 2: Progress Picture of Final Attempt

Final Drawing:

Fig 3: Final Work

This attempt finally resembled the approved editorial image much more closely, and that made me feel genuinely proud and accomplished. Seeing how far I had come from my first sketch was incredibly rewarding—it proved that patience, persistence, and the right techniques really do pay off.

Throughout this process, I learned several valuable things. I learned how important it is to slow down and trust the process, especially when using techniques like one-way hatching that require consistency and control. I discovered how drastically the thickness of a pen can affect the level of detail and overall look of an illustration—especially when working with intricate embellishments like those in my reference image. I also realized that laying down structured guidelines before starting helped me stay focused and maintain better direction in my hatching.

Most importantly, I learned to overcome my fear of making mistakes with pen—something that felt intimidating at first. With practice, I grew more confident in my strokes and began to understand how layering tones and spacing lines could help me create depth and shadow. This exercise not only improved my illustration technique but also taught me discipline and patience, qualities I’ll carry forward in my future projects.

Lecture Class

Once we completed and submitted our illustration, Sir briefed us on our next assignment:

Week 04 – Week 06 (3 weeks) – Physical [20% - Individual]

For this project, we are tasked with creating a full fashion illustration using colored pencils while applying the scrubbing technique. The theme for this assignment is ‘Spring & Summer’, and we are required to select a fashion editorial from a magazine as our reference image.

The scrubbing technique involves applying color pencil in a circular, back-and-forth motion with varying pressure to build depth and texture. This method is especially useful for blending and layering colors to  create smoother transitions and realistic fabric effects. By scrubbing lightly and gradually layering tones, the illustration can reflect the richness of textiles like chiffon, cotton, or silk often seen in spring/summer collections. It's also effective in producing soft shadows and volume in the figure’s body and garments.

This technique will challenge us to move away from linear hatching and practice color blending, tonal control, and textural contrast, all while capturing the vibrancy and lightness of spring/summer fashion. It’s a new and exciting opportunity to explore color in our illustrations and refine our rendering skills.

Week 4: Scrubbing Technique Exploration – A New Medium, A New Voice

This week marks the beginning of Task 2, where we begin experimenting with a new rendering method using the scrubbing technique with color pencils. This dry media approach focuses on creating textured effects and depth through layered, controlled strokes. The goal is to explore how this technique can bring softness, vibrancy, and tactile quality into our fashion illustrations.

The theme for this task is “Spring and Summer.” Students are expected to select fashion editorials that express the vibrancy and freshness of these seasons. Look for visuals that showcase strong architectural poses, dynamic fabric drapes, rich prints, and a good balance of light and shadow. Your selected editorial will serve as the subject matter for your figure illustration.

A class demonstration of the scrubbing technique will be shown during the lecture. To ensure full participation and progress, all students must bring the necessary materials to class. These include an A3 size illustration board for the final artwork, Luna brand color pencils, A3 size photocopy paper for experimentation, and optionally, an LED light panel for tracing. Additionally, you must bring a black and white photocopy (A3) and a colored photocopy (A4) of your chosen editorial. Please also prepare your drawing tools such as pencils, erasers, and rulers.

This week’s focus is the “try and error” phase. Students are required to create a 30–40% partial illustration on cartridge or photocopy paper. This practice round will help you gain familiarity with hand pressure, consistency in scrubbing strokes, and control over the medium. You will also refine your understanding of figure pose, body proportions, and facial details during this stage. Once the practice piece is complete, you are required to present it to the lecturer for approval and an official stamp before moving forward with your final illustration.

After receiving approval, you may begin working on the final piece on your illustration board. The completed artwork must demonstrate technical understanding of the scrubbing technique, thoughtful interpretation of your selected fashion editorial, and attention to detail in capturing textures, colors, shadows, and garment features. Remember that the figure must feel alive and well-proportioned, reflecting a realistic yet expressive fashion illustration.

The final illustration for Task 2 is due in Week 6, on the 27th of May 2025. Please manage your time well to ensure you meet the deadline with a completed and fully realized artwork.

This week is an opportunity to immerse yourself in a new medium while enhancing your eye for detail and your sense of movement and texture. Allow your creativity to evolve as you explore this technique, and use this process as a stepping stone to refine your own visual voice in fashion illustration.

Week 5: Advancing with Color Pencil Scrubbing – From Experiment to Execution

As we enter Week 5, our focus continues on Task 2, diving deeper into the exploration of the scrubbing technique using colored pencils. This dry media technique, which we began experimenting with last week, is now transitioning from trial phase to actual execution. Week 5 will serve as a bridge between concept development and final presentation, and it is crucial to stay on track in order to meet the upcoming deadline.

The core of this week’s session revolves around building upon your “try and error” exercises and beginning your final artwork on the A3 illustration board. As a reminder, the chosen theme remains “Spring & Summer,” and your visual references should reflect this through vibrant palettes, expressive poses, and detailed fabric movement. When selecting editorial images, aim for 3 to 5 options that exhibit architectural poses, clear light and shadow play, and strong visual texture—all of which will help elevate your final piece.

In class, there will be a refresher demonstration of the scrubbing technique, and for your convenience, a reference video slide has also been uploaded to the class Google Drive. Please be sure to review it, especially if you need to revisit the foundational strokes before applying them onto your final board.

The scrubbing technique with colored pencils involves applying color in layered motions to build both texture and depth. Below are several key practices sourced from illustration and rendering guides that can help refine your execution:

1. Layering and Burnishing: Start with a light layer of color and build up gradually. Scrubbing works best when you burnish or blend these layers with heavier pressure in certain areas to create a velvety finish. Luna color pencils, known for their soft wax base, are suitable for this technique due to their ability to blend well under pressure.

2. Circular Motion for Texture: When scrubbing, use tight circular motions. This helps avoid streaks and creates a more consistent surface. Avoid long strokes which may break the illusion of fabric flow or skin smoothness.

3. Highlighting with an Eraser: After building up color, you can use a soft eraser to gently lift certain areas and create highlights. This is effective for rendering reflective fabrics, natural light on skin, or soft folds in clothing.

4. Crosshatch and Scumble for Complexity: Once you’ve laid your base tones, consider incorporating crosshatching or scumbling—both of which add texture variation and dimension. Scrubbing does not need to be overly smooth; controlled chaos often results in richer visuals.

5. Control Pressure for Depth: Varying your hand pressure helps to distinguish between light and shadow. Scrub with more pressure in areas of shadow and less in areas catching light to give your drawing realistic contrast.

During this week’s tutorial session, students are expected to have completed approximately 30% of their try and error exercise. This is essential preparation to ensure that you are familiar with the technique and capable of maintaining consistency across your final work. Once reviewed and approved, you should immediately begin transferring and illustrating on your final A3 illustration board during the practical session.

Time management will play a key role this week. Without starting your final illustration in class, it may become difficult to meet the submission deadline in Week 6, on 27th May 2025. Please take this as a reminder to bring all necessary materials: your editorial references, drawing tools, colored pencils, light panel (if needed), and your approved trial sketches.

As we move from exploration to final execution, let this process teach you not only about technique but also about decision-making, visual translation, and style consistency. This task is not just about producing a beautiful illustration—it’s about understanding the movement of the body, the texture of the garment, and the way color can shape a narrative.

Week 6: Finalizing Task 2 – Scrubbing Technique in Full Execution

As we step into Week 6, the focus shifts toward completing and refining our final artwork for Task 2, which explores the scrubbing technique using colored pencils. This week’s sessions will be a continuation of your dry media experimentation, but more importantly, this is the final stage of execution before the task is officially submitted. The theme remains “Spring & Summer,” and your work should now be transitioning from experimentation to a completed, polished illustration.

Throughout the past two weeks, you have explored the principles of scrubbing—layering and blending colors through controlled strokes to create depth, texture, and atmosphere in your illustration. During this week’s lecture, another demo video of the scrubbing technique will be shown in class as a refresher. For further guidance outside class hours, a reference video has also been provided via the class Google Drive.

As a reminder, your materials must include an A3 size illustration board (for your final submission), Luna brand color pencils, A3 photocopy paper for the try-and-error stage, and a LED light panel if you choose to trace your figure. This preparation mirrors the approach taken in Task 1, and is intended to ensure consistency, quality, and clear creative direction in your final outcome.

The editorial you select should still align with the Spring/Summer theme. You are expected to reference 3 to 5 fashion editorial images that feature strong, structured poses, vivid colors, intricate print or fabric details, and well-defined light and shadow play. These references should inspire your character illustration—capturing not just clothing, but also the human form, facial structure, movement, and proportion.

By this point, the “try and error” stage should be 30% to 40% complete and submitted for approval. This practice piece is crucial for building stroke consistency and experimenting with color layering. Make sure to consult with your lecturer during the lesson to have your draft reviewed, stamped, and signed before proceeding to the final board.

Most importantly, this week marks the submission deadline for Task 2, scheduled for 27th May 2025. Students are expected to have already begun their final illustrations on the A3 board. Any delays in starting your final work may affect your ability to complete the task to a high standard, so time management is key. If you haven’t yet transferred or traced your final figure onto the board, this should be prioritized during the practical session.

The success of this task lies not only in your technical rendering, but also in your ability to creatively interpret your reference, express textures through dry media, and maintain cohesion in your composition. Let this week be a culmination of your experimentation, observation, and refinement. Approach your final piece with confidence and precision.

Best of luck to everyone as you complete and submit your final Task 2 illustration. Let your work reflect both your creative growth and your ability to adapt traditional media into contemporary fashion storytelling.

Week 7: Introduction to Task 3 – Overlapping Technique with Marker

As we begin Week 7, we move forward into Task 3, which introduces a new dry media exploration using marker pens. This task will focus on mastering the overlapping technique, a method that involves layering transparent or semi-transparent tones to create dimension, texture, and depth in illustration. This new approach will build upon the foundation laid in previous tasks and encourage you to understand how color transitions and tonal layering can enhance fashion rendering.

The chosen theme for Task 3 is “Sport Illustrated.” This theme requires you to capture movement, energy, and athletic form in your figure drawing. When selecting references, look for 3 to 5 fashion editorial images that present strong, dynamic poses, clear fabric movement, color contrasts, and visible light-shadow play. These visuals will guide your illustration process and help you express a more athletic and performance-driven aesthetic.

For this week’s class, students are required to bring all necessary materials to begin the try-and-error stage. These include:

• Marker pens (Copic, Kurecolor, Touch, Prismacolor, or any available brand)

• 3 to 4 gradual tones of cool grey

• 3 to 4 gradual tones of skin colors

• A3 size photocopy paper or a marker sketch pad

• A3 size photocopy paper for try-and-error

• An LED light panel (optional, for tracing)

• Your editorial references and drawing tools

A demo of the overlapping technique will be conducted during class to walk you through stroke direction, tone transition, and blending techniques. A video demo slide has also been provided for extra reference, and students are encouraged to review it before or after class for further reinforcement.

The try-and-error stage should be completed up to 30% during the practical session. This trial is designed to help you get accustomed to the marker medium, specifically how to manage pressure, overlap transitions, and layering for dimensional effect. Once your practice sample is reviewed and approved, you may begin executing your final artwork for Task 3 on A3 paper.

In addition to beginning Task 3, please also ensure that your Task 2: Color Pencil Illustration is finalized, photographed, and uploaded to the submission folder as instructed in Week 6. This submission is crucial for documentation and grading, so please complete this if you have not already done so.

The final submission for Task 3 is scheduled for Week 9, on 17th June 2025. It is important to stay on schedule and manage your time efficiently to allow space for refinement, feedback, and corrections if needed. This task will further develop your rendering skills and push your ability to illustrate dynamic poses with confidence and control using marker media.

Let this week be about experimentation, observation, and improvement. The overlapping technique, though subtle, can be incredibly effective in bringing movement and realism into your fashion illustrations. Take this opportunity to expand your visual language and further define your style.

Week 8: Shifting Focus – Prioritizing My Fashion Project

This week, my attention was primarily directed toward progressing on my fashion project, which required dedicated time and energy to develop. As a result, I took a step back from my illustration assignments, including the continuation of Task 3: Overlapping Technique with Marker.

While I did not actively engage in illustration practice this week, the shift in focus was necessary to move forward with other key aspects of my fashion design work. Balancing both the creative and technical sides of the course can be demanding, and Week 8 became a moment for me to prioritize construction, development, and material preparation related to my fashion garment.

That said, I remain aware of the expectations and upcoming deadline for Task 3, which is due in Week 9, on 17th June 2025. I plan to revisit the overlapping technique and continue building on the marker rendering skills introduced earlier. Once my fashion project reaches a more stable point, I will refocus my efforts on completing the illustration task with attention and care.

Although this week was not illustration-heavy, it served as a valuable reminder of the importance of time management, project planning, and knowing when to shift gears based on creative demands. I look forward to returning to my marker work soon, with a clearer headspace and a refreshed perspective.

Week 9: Refining and Rebuilding – Revisiting My Scrubbing Technique

While this week’s class continued with the overlapping marker technique for Task 3: Sport Illustrated, I personally took this week as an opportunity to revisit and refine my previous submission for Task 2: Scrubbing Technique using Color Pencil. After receiving feedback and reviewing my initial attempt, I realized that my illustration lacked the depth and dimension needed to fully bring the subject to life.

Rather than rushing into a new task, I made the decision to improve the quality of my color pencil illustration. I focused specifically on enhancing the skin tone transitions and fabric shadows, as those areas felt too flat and underdeveloped in my first version. To improve this, I applied several techniques that helped add volume and realism to my figure:

1. Layering in Gradual Pressure – I revisited my base skin tones and built them up slowly with varied pressure, using lighter strokes in highlight areas and gradually increasing intensity in shadow zones. This helped the form look more three-dimensional rather than uniform in tone.

2. Color Glazing for Warmth – To avoid a chalky look, I glazed over the skin with a warmer hue (like peach or light sienna) to bring warmth and natural variation, especially around areas like the cheeks, elbows, and neck.

3. Fabric Depth with Cool and Neutral Greys – For the clothing, I added shadows using cool grey tones to suggest folds, layering, and light direction. I also softened transitions between light and shadow by blending with a white pencil, which created smoother gradients.

4. Backlight Highlighting – By lightly lifting areas of color with an eraser in places where light would naturally hit—such as the top of the shoulder or cheekbone—I was able to emphasize the light source and create subtle highlights that brought contrast and clarity.

This time spent refining my earlier work allowed me to reflect on how small adjustments in stroke pressure, color choice, and tonal contrast can significantly improve an illustration. It also reminded me that fashion illustration is not only about completing tasks, but about continuously learning how to translate fabric, skin, and light through artistic techniques.

Though I did not fully dive into Task 3 this week, I have prepared my required markers and reference editorials for the Sport Illustrated theme. I now feel more confident and ready to begin my marker experimentation in the following session.

As a reminder, Task 3 is now due in Week 10, on 24th June 2025, and Task 2 submissions should be uploaded to the shared Google Drive and MyTimes platform along with a photograph of the completed piece.

Taking this week to revisit and strengthen past work was a valuable step forward in my progress—not a step back.

Week 10: Learning Through Challenge – Blending, Fabric, and Final Execution

This week marked the final push to complete Task 3: Overlapping Technique using Marker, and although I came prepared with my markers and reference material, I quickly realized that executing this technique effectively came with its own set of challenges. What seemed simple in demonstration turned out to be quite technical in practice—especially when it came to blending.

During the trial phase, I struggled with the blending process. At first, I wasn’t sure how to transition from one shade to another smoothly. My tones kept appearing streaky and patchy, which made the illustration feel unrefined. After several attempts and some observation, I finally understood that successful blending with markers requires continuous coloring while the ink is still wet. The pigment needs to remain active on the paper for one tone to merge into the next. Once the ink dries, blending becomes difficult, if not impossible. This means everything—from application speed to pressure—has to be done quickly and with intention.

Another issue I faced was with my initial tracing. I had overlooked some of the critical details in the reference image, especially the bends, folds, and tension points on the garment. Without these, the clothing on my figure lacked realism and structure. It reminded me how important it is to trace with accuracy, not just for proportions but for movement and fabric behavior. What further helped was reconsidering the type of fabric used in the editorial reference. The flow, stiffness, and weight of the garment affect how shadows fall and how folds are formed—elements that are essential when using markers to depict light and volume.

Although I encountered these challenges, they were valuable learning moments. I now understand that marker illustration is not just about layering colors, but about timing, observation, and understanding the material being represented. The technique of overlapping only works well when you respond quickly and accurately to the form you’re drawing, especially under the constraints of fast-drying ink.

As of this week, Task 3 is due, and I have completed and submitted my final illustration on the A3 marker sketch pad. I’ve uploaded a photo of the finished piece to the designated folder as instructed. Despite the difficulties, I’m proud of the growth this task pushed me toward, especially in terms of technical skill and visual sensitivity.

This assignment challenged me more than I expected, but it taught me patience, precision, and the value of truly observing what I’m trying to depict—lessons I’ll carry forward in all future illustration work.

Week 11: Completing Task 3 – Overlapping Technique with Marker

This week, I successfully completed and submitted my Task 3: Marker Illustration using the overlapping technique. The theme, “Sport Illustrated,” challenged me to explore dynamic poses, movement, and garment structure through layered tones and intentional marker strokes.

Reflecting on the process, I can confidently say that it took time to fully understand how to blend tones effectively. At the beginning of this task, I struggled with making the transitions between tones smooth—especially when working with cool grey gradients and skin tones. What helped me most was realizing that blending with markers only works well when the ink is still wet. This meant I had to work quickly and continuously, layering one color over another before it dried. Learning to control my speed and pressure was key to achieving a softer, more seamless transition.

Another challenge I encountered was in the tracing and rendering phase. My earlier outline lacked some important details—particularly in the folds, bends, and tension areas of the garments. This made the figure feel a bit flat at first. I had to go back and observe my editorial references more closely, paying attention not just to the pose, but also to the type of fabric being illustrated. Understanding how certain materials behave—how they stretch, gather, or fall—helped me make more accurate decisions when applying shadows and highlights with marker.

After refining both my technique and composition, I was able to complete the final piece on A3 marker paper, capturing the essence of the reference while applying what I’ve learned from earlier tasks. I’ve submitted a clear photo of the finished illustration to the designated folder as required.

Overall, Task 3 pushed me to work more precisely under time pressure and develop more confidence in handling marker as a medium. This task has definitely strengthened my ability to observe, render texture, and understand the relationship between light, shadow, and form.

Week 12: Introduction to Final Project – Exploring the Wash & Mixed Media Technique

This week marked the beginning of our Final Illustration Project, and in class, we were officially briefed on the expectations, theme, and techniques required for the task. The theme, "Reimagining the Kebaya," is directly aligned with our Fashion Project 1, making this illustration a visual extension of our final garment concept.

We were introduced to the Wash & Mixed Media technique, which allows for creative experimentation using a combination of watercolor, color pencil, pen, and pencil on A3 watercolor paper. This technique opens up many possibilities to interpret texture, light, and form in ways that suit the mood of our individual kebaya designs.

Our lecturer walked us through the list of essential tools and materials we need to prepare: Alpha watercolor paints, various square and diamond tip brushes, a color palette for mixing, water container, tissue, and masking tape to frame our workspace and control paint flow. We were encouraged to revisit and study our chosen fashion editorial references—making sure they reflect structural poses, colorful outfits, dynamic drapery, and strong lighting.

In addition to the technical overview, we also learned some fundamental watercolor techniques that will help elevate our final illustrations:

• Wet-on-wet: For soft, flowing transitions—ideal for airy fabrics or backgrounds.

• Wet-on-dry: For more controlled lines and crisp layering.

• Lifting: Removing pigment with tissue or a dry brush to create highlights or light textures.

• Glazing: Applying thin layers of color to build depth and vibrancy.

• Dry brush: Creating textured or rough fabric effects using minimal moisture.

Although I have not yet started applying watercolor to my final piece, this week was essential for understanding the approach and preparing my concept thoroughly. With the final submission scheduled for Week 14 (22nd July 2025), I plan to begin executing my illustration with the skills and observations gathered from earlier tasks.

With my marker illustration now completed and submitted, I feel more confident about moving into this next stage of work. This project offers an opportunity to combine all the techniques I’ve learned so far into one expressive, cohesive outcome—and I’m looking forward to bringing my kebaya design to life on paper.

Week 13: Final Illustration – Reimagining the Kebaya in Wash & Mixed Media

This week was focused on executing the final submission for our Fashion Illustration Final Project with the theme "Reimagining the Kebaya", aligned with our Fashion Project 1 garment. After weeks of preparation, this was the moment to bring all techniques together—especially the wash and mixed media method using watercolor, color pencil, pen, and pencil.

To begin the process, we used a rendered AI version of our kebaya design as a base reference, created through ChatGPT using the description of our actual Fashion Project 1 garment. We then paired that with a carefully selected pose from Pinterest, chosen for its clear depiction of structure, fabric flow, and lighting. This combination allowed me to visualize my concept with more clarity and accuracy before translating it onto paper.

The journey from trial to final was a learning curve. In my first trial, I struggled with brush control and quickly realized that not all brushes produce the same results. I learned to use square and diamond tip brushes more effectively by adjusting pressure, water content, and stroke direction. My second trial taught me about color mixing—especially how to achieve the right tone by balancing water-to-paint ratio and combining complementary colors to avoid muddy results.

By the third attempt, I was finally ready for the final piece. I applied the wet-on-wet technique for the softer areas like sleeves and background washes, and then followed it up with wet-on-dry to define sharper details in the kebaya structure. Once the watercolor layer dried, I used color pencils strategically to enhance shadows, edges, and folds—giving the piece a more three-dimensional finish. The layering of dry media over the watercolor wash created subtle textural contrasts that made the illustration feel more alive and refined.

I’ve completed my final artwork on A3 watercolor paper and ensured that all tools and techniques were applied mindfully. This process reminded me how important it is to be patient with watercolor—it's a medium that requires both planning and adaptability.

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Self-Reflection:

This project challenged me to handle water-based media with more care and control. My biggest mistake early on was underestimating the importance of using the right brush for different sections. I kept switching brushes in my first trial without understanding their purpose. Through repetition, I learned which ones work best for washes and which are better for detailing.

Another challenge was in mixing colors accurately. I often created hues that looked dull or uneven. By the second trial, I learned to test small swatches before committing to a color on the final piece, which helped me avoid major errors.

My final breakthrough came with the use of colored pencils to enhance dimension. That extra layer helped me define the form more clearly, especially in areas like the sleeves and waist. Combining soft watercolor gradients with sharper colored pencil lines gave the garment structure and realism.

This week was a satisfying culmination of experimentation, problem-solving, and technical growth. I now feel more confident in combining media to express fabric, mood, and movement—and proud that my final illustration reflects not just my design, but my learning journey too.