We draw fabric in Adobe Photoshop

Today, we will learn how to draw fabric, put patterns on it, and use references.

To work we need:

Texture 1
Texture 2
Brushes “Russian pattern” -frames
Brushes “Slavic patterns”

The result of our work:

“Princess Olga”

I work in the program Adobe Photoshop CS 5. There, for drawing the same fabric there is a wonderful tool “mix brush

In other, older versions of Photoshop, you can use the tool “finger and set color transitions by lowering the transparency of the brush. But it is troublesome and inconvenient. So, congratulations to the happy owners of the fifth version and we are starting.

I already have a ready background, and a sketch. I will draw “Princess Olga” her expectation of her beloved Prince Igor. Waiting … which is almost the knowledge that he will not return from the Drevlyane. Working with her costume, I needed references with samples of patterns and clothes of that era.

In order for your work to become as realistic as possible and, most importantly, to be faithful to the chosen epoch, it is necessary to KNOW what you are painting, and correctly convey it in the picture.

Therefore, next to the sketch of Olga, I put a reference with samples of clothing of that era.

We will have three things from Olga’s clothes that we should draw. This is a scarf, shirt and dress. For which, we are on a separate layer, before collecting the palette.

The next step is to create a new group “sundress” and fill our outline of Olga’s dress with the background color of the sundress. We create the next layer and on it we draw with the usual round soft brush the folds of our sundress, where necessary, indicating dark and light places, creating a rough, but already clear pattern of the folds.

Always paint the clothes “bottom”. Those. first you draw what is under all clothes. In our case it will be: dress> shirt> handkerchief.

When drawing fabric, you need to know a few things. The first is what kind of fabric it is, what is its texture. Shiny, silk or on the contrary, matte, dense (as in Olga), woolen or thin, light, translucent fabric as a batiste (we give them our handkerchief). Since the intensity of drawing light and shadows, will directly depend on the texture of our fabric. In my case, this is a dense, wool blend fabric.

This is what our light-shadow layer will look like if I turn off the base

As you can see, light-shadows fill almost the entire space. Do not be lazy at this, seemingly foolish stage. It is on the correctness of these strokes will depend on the further realism of the clothing of your hero. If you have difficulties with setting wrinkles, or drawing the movement of the fabric – use the reference, overlaying them next to the working layer and drawing. Gradually, you will “feel” the physics of the tissue and you will be able, from your head, to draw any of its movements.

Similarly, we draw (by creating each type of clothing our own folder!) And the rest of the princess’s garment: a shirt and a scarf.

The next step is to combine the layers of the background and podmalevka sundress, take a brush “mix with layers disabled, look at the parameters on the scan.

Now, with this brush, we begin to gently mix the colors of the fabric. Smears should be as inconspicuous as possible and their direction should correspond to the movement of a fold or piece of fabric, and color transitions should be very soft, since Our light is not scattered, and there can be no sharp, chopped shadows.

On the scan, I specifically showed you how our fabric changes, thanks to working with “mix

Similarly, draw the soft folds on the belt of Olga. She is standing back a little, and we will show this pose only by playing the tissue on her body.

In the work on the coloring of your work, there is one inconvenience, you can “fly out” beyond the edges of the object. To prevent this from happening, always select the layer with the object, and work on the selected layer. To do this, hold down the Ctrl key and left click on the image layer. Selection will not let you beyond the boundaries of the object.

Similarly, we work with the princess’s shirt. But in this case, I was not satisfied with the brightness of the shirt. The color seemed too saturated. If you, in your picture, too, then there is an easy way to correct clothes. Reduce saturation with hot keys. Ctrl + U, calling the menu “Hue-Saturation“It is for the freedom of such manipulations that we merge the layers with the background of the fabric and the layer with the underlayer.

(click on image to enlarge)

In the same way, immediately correct “Brightness-Contrast“. Parts of clothing should” connect “together in a light balance.

(click on image to enlarge)

We start drawing a scarf. He will be tucked behind the rim, and he, unlike the shirt and sundress, is very light and thin. Immediately, drawing his light-shadows, we will show the drawing of the princess’s shoulder and the volume of her back from behind.

Again, select the contour of our area, add additional shadow transitions. In general, the more subtle shades of color will be on your clothes, the more realistic it will turn out as a result. This is a kind of color detail.

We are working againmix with a brush, and our rough light-shadows turn into gentle, smooth transitions of flying tissue.

Also, to create transparency, we’ll highlight the tool “Lasso“the area of ​​the scarf, which, from this angle, should be transparent, previously dressed on a layer with a scarf”quick mask.

Take the usual round brush with softness of 100%, and transparency of 14% and paint over the selected area of ​​the mask. In the end, removing the selection, we get a semi-transparent with all the shadows and highlights.

Now consider the construction of patterns on the fabric. For this work special brushes “Russian pattern” were used – frames. Cut out from the frame of the pattern, this is our sample. Do not touch it, but simply copy the sample layer again and always work with the copy. The original remains with you as an endless source of copies of the desired size.

When working with patterns, you will need a feature Deformation. Bend your pattern according to the bend of the sleeve.

Having set the pattern as you need, we begin to create light and shadows on it. For this we need “Levels“because changing the entire pattern, we evenly darken or brighten it. What we never do, use the tools dimmer or clarifier. Therefore, we duplicate the already changed pattern, turn off the base layer, and lower the brightness levels.

Now hide the darkened layer and turn on the base layer of the pattern again. Take a soft white brush (parameters on the screenshot) and carefully paint over the places where there should be shadows.

Everything, while with a pattern on the sleeves, we stop and move on to the pattern on the sundress.

We choose a pattern from the same brushes. We cut the sample, reduce it to the size we need, duplicate it again and work with a piece-copy of the sample. And now the most difficult. Since the sundress is long and strongly deformed to the bottom, we will have to make a pattern of pieces, because Immediately, correctly, to deform such a large piece of the pattern under the twists of the sundress is not possible. Be painstaking and careful, you should not see a single joint of your pieces.

In places of strong fractures of the fabric, we will have to cut the pattern, because in reality, he is always interrupted and changes his drawing. For this tool Lasso exactly along the fold cut the strip of the pattern of the pattern that “rests” in a deep fold of clothing.

And deform it so that from above it harmoniously connects with the upper part and at the same time, repeats the bend of the fabric. This is hard work, but the outcome will be worth it.

Having thus built the entire strip of the sundress pattern, we merge it into one common layer, create a double layer and call it “dark”. Lower it Levels to the color saturation we need.

(click on image to enlarge)

Similarly, create a “light” layer. These are our future light highlights.

(click on image to enlarge)

Create these layers with a dark pattern and light – quick masks in the mode of hiding (Alt + click on the icon with the “quick mask”). Take a round, soft brush , and, playing with the levels of its opacity, following the color of the fabric, paint over the light and shadow highlights. In this case, the layer with the shadow pattern is transferred to the blend mode Linear dimmer.

Bright strip pattern under masked in mode Screen (“Lightening”), brush transparency from 40-100%. Blue arrows indicate the pattern highlights. As you can see, our flat pattern began to acquire depth and became part of a sundress.

Similarly, we work with a pattern on a sundress, located in the neckline.

We warp our stripes of patterns so that at the junction (black arrow) they harmoniously merge.

Having performed all the same manipulations as with the pattern on the sundress itself, we get the following:

To make our necklace pattern and the pattern from the sundress itself look like one, we will carry out a number of manipulations, but first merge all the layers with the sundress patterns. Since they are all in different modes with us, when we combine, we will get something in between (the program tries to come to the “golden mean”). It does not suit us. Therefore, duplicate the merged layer and select the optimal blend mode for it. I got a mode Linear dimmer, with a transparency of 38%.

Let us return to the original combined layer with the pattern, and carefully place the accents of the shadows, so that the pattern is almost dissolved in the darkest folds of the sundress.

(click on image to enlarge)

Create patterns and shawl edge. For this, I used the brush “Slavic patterns.”

Distribute patterns on two layers: “front” and “back”. Everything is clear from the front and we work with it as in the previous patterns: we deform, adjust the light and the shadow, but here the “back” pattern we partially fall into the translucent zone. Having completely worked the back pattern on the scarf, we put on the usual layer quick mask, take a round soft brush with opacity of 23% and paint over the area that is clearly highlighted Lasso. Also, slightly lower the transparency of the layer itself, since we need the effect of the distance pattern on the fabric.

Our result:

As you can see, working only on two layers, we were able to create a reliable pattern, not violating, but on the contrary, emphasizing the lightness and subtlety of the fabric.

Now, proceed to the last stage – texturing the fabric.

For texturing our image, we need two patterns. Texture 1 we need for a sundress.

Download and install it to yourself as a pattern. Create a new layer above the layer with a sundress, select the outline of the sundress and fill this layer with a pattern. Blending mode set to “Overlap” 50%.

Similarly, we work with texture 2, it is needed for texturing a shirt. Repeat all the steps from the previous step, but make the texture layer softer, set the layer to the “Soft Light” blending mode 100%.

But if we leave everything so, our fabric will look artificial, as in reality, the texture obeys the laws of light-shadow, and it is less visible in dark and distant areas. Therefore, we return to the layer with the texture of the sundress, dress it in Quick mask, and soft, round brush , with an opacity of 29%, paint the penumbra parts of the texture (pink arrows). Then we add opacity to 50% and paint over the shadows, where the texture is almost invisible (blue arrows).

(click on image to enlarge)

We do the same with the sleeve texture.

(click on image to enlarge)

We do not texture the shawl, because its fabric is similar to silk and cambric, i.e. does not have a pronounced texture of weaving threads.

Here is the result of the finished picture, on which we learned how to draw and texture the fabric of clothing.

Good luck to everyone in the works!

Lesson author: Logart
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