Recolored Lavender Mermaid Tail with White Top

A bluish-lavender mermaid tail with lighter, warmer fins along the top, sides and base of the tail. The tail shimmers in shades of pink, purple, yellow and blue. The top is a one-shoulder Greek inspired white top that shows the midriff and is bordered with gold scroll patterns. At the shoulder is a golden starfish brooch with an opal in the middle, and there are strands of pearls looped over the shoulder and upper arm.You may remember this mermaid tail? I wasn’t satisfied with it at the time, and I wanted to practice a mermaid scale technique I saw used on official Ariel artwork and immediately coveted. So I reused this drawing so I could spend the time experimenting and trying to get the tail looking good. It certainly is an exuberant technique — maybe I went a bit overboard? Well, you know me, I like my glitter.

I’m still working on that mermaid story I mentioned in the previous post. I started actually writing it for NaNoWriMo but 40,000 words in I’m realizing I have to rework the entire second part and most of the first, and am currently having all sorts of fun planning to cut out several thousand of those words.

Next week, I probably will actually finish up that new doll. Until then, you can download combined color and black and white PDFs of all of my 2014 dolls and outfits for free! Also follow me on Facebook, Twitter or Pinterest for beautiful saris, sneak previews and paperdoll thoughts. If you enjoy my work, I'd also appreciate your support through Patreon.


The Mythic Ball, Part 1: Dragon’s Blue, Black and Gold Masquerade Gown with Flame Underskirt

A black velvet masquerade gown with a square neckline, long sleeves and a large, bell-shaped skirt. At the neckline is a gold band in a stylized flame pattern, with a large fire opal surrounded by rhinestones set in the middle. The sleeves have blue ruffles at the shoulders and at the wrists, with iridescent blue-green highlights and shades of purple in the shaded areas. There's a bit of golden lace above each ruffle. A pattern of golden scrolls runs down the length of the sleeve. The bodice has a long, triangle-shaped area from the neckline to the waist patterned with shiny blue and purple dragon scales and bordered with delicate gold lace. At the waist is a gold band with a stylized flame pattern, set with three fire opals surrounded by rhinestones. The overskirt is open at the front and edged with a blue iridescent ruffle and golden lace. A golden pattern of a stylized dragon breathing flames is on the edge of the skirt. The underskirt appears to be made of fire. There's a light blue tail curling over the edge of the skirt and light blue wings at the shoulders, tipped with golden horns, and there's a small black velvet mask decorated with golden scrolls.Every year on Halloween, a certain kind of idea or story takes form, gets dressed up and throws a great party, called the mythic ball. These ideas prefer to be called “archetypes” (and you use the term “monster” at your own peril). For example, Dragon here isn’t a particular dragon; she didn’t make Saint George a legend, she’s never guarded the vaults in Gringotts and she doesn’t make a habit of burninating anything. Rather, she exists as the idea of a dragon, a force created by human culture and called upon when someone needs something large, reptilian and powerful for a particular creation.

It’s the night of the mythic ball; Dragon is holding court in her glorious dress. She was the queen of the monsters’ ball last year; those rare times she doesn’t win, she’s quite gracious about it, knowing as she does that the title will pass back to her sooner rather than later. Certain parties are known to hum “Puff, the Magic Dragon” behind her back, and there was a great fuss last year when Kraken made a snippy remark about her archetype being based on majestic giant squids and Dragon’s being based on cute little frill-necked lizards.

“I suppose you’re all just as popular as ever?” Dragon asks the group of archetypes surrounding her. She’s trying, without success, to keep from looking smug. Her courteous nature doesn’t allow her to directly bring up her own triumphs, but should someone happen to return the question to her, she would bring up how very pleased she was by that handsome and very popular young man voicing one of her newer representations, and how she had actually figured in several very popular cultural works lately. As a matter of fact, these days representing her archetype could be said to constitute its own industry. Not that she had calculated the salary of all the CG renderers, motion capture specialists, character designers and fantasy artists and authors who made up her most devoted fanbase, but she was sure it would be a most pleasing number. They feed their families and expand their portfolios thanks to the world’s desire for her; she grows as if nourished not by a hoard of gold but by a wealth of stories and artistic works.

Incidentally, there’s a second dragon archetype enjoying the party; this one is older than she is, and, she knows, more powerful. How much of her desire to be the center of this event stems from her jealousy, I can’t say.

Happy October, a month which you may know I like to celebrate as the most important time of the paperdoll year since it includes Halloween, a holiday that just begs for fanciful costumes. Those of you who have been reading for a while may remember this dragon-themed masquerade gown from 2010, and the promise of similar dresses to come. It never happened, because I finished that dress — still one of my favorites — and realized I’d never top it in time. (I think that’s also when I first noticed my wrists having problems.) Well, now that I’m doing digital coloring and shooting for one dress a week, it’s time to revisit the mythic ball…

Who will we meet next? The contentious Kraken mentioned in this installment, perhaps? Or another of the many archetypes attending the ball? Come back next week to find out! In the meantime, don’t forget that you can now download combined color and black and white PDFs of all of my 2014 dolls and outfits for free! Also follow me on Facebook, Twitter or Pinterest for sneak previews, paperdoll thoughts and fun reference images of dresses. If you enjoy my work, I’d also appreciate your support through Patreon.


Blue and Gold Princess Gown with White Tulle, plus Thoughts on Princess Culture

A royal blue satin ballgown draped in the front to show the light blue reverse side of the fabric and the full layered tulle underskirt. The gown is off-the-shoulders with long fitted sleeves, and there's a wide gold band at the collar with a scroll and heart pattern decorated with small red, green and blue gems. It has a V waist decorated with a gold band and gems, and the overskirt is edged with a gold band with a scroll and heart pattern  and gems. The skirt is bell shaped and very wide, and the underskirt has several tiers of white tulle edged with flower lace. There's also a golden circlet decorated with red, green and blue gems.I’ve had princesses on my mind lately. The popularity of princesses (particularly the Disney Princess line) is often viewed, especially from a feminist perspective, as a rather embarrassing phase for parents to suffer through, but I’m as feminist as they come, and I think there’s more to it. Why are stories about princesses so compelling to such a wide audience, and why is princess culture so pervasive? I believe it’s because stories about princesses reflect the struggles of the readers, because princesses are unabashedly feminine icons in a society that often disparages women, and because princesses as a character archetype have a surprising amount of flexibility and interest.

The word “princess” comes loaded with significance. (Just come up with a good noun and slap “The Princess And The” in front of it: there’s your story title!) We’re all aware of the historical concept of a princess, and readers know in reality that being a princess probably wasn’t such a great gig. After all, a princess’ marriage was likely decided by political factors, her power often depended on the favor of other people, and she wasn’t likely to have much personal freedom. Still, she probably had some influence and resources that weren’t available to an average woman (and to be sure, her dresses were better).

We readers know these things before we even start reading, so when we encounter a princess in a story we immediately understand she has certain pressures and obligations, as well as some degree of power and privilege. Her position in life makes the stakes higher than they would be for a regular person, which adds tension and drama to the story, but at the same time we understand her problems and relate to them. After all, a princess in a story is likely to worry about things like pleasing her family, living within certain restrictions, finding love and making a place for herself in her world — all things that we readers understand just as well. The limitations and expectations each princess has to cope with and the way she finds her power reflect the conflict between the reader’s desires and our obligations and duties.

In other words, a modern story about a princess is likely to be a story about a woman finding her source of power and taking control of her life. There will probably be some existing limitations, because a princess with no problems or obligations whatsoever may seem unrealistic, but there also have to be opportunities for her to try to get what she wants, because a character that is too bound by outside forces to do anything is problematic both from a storytelling perspective and from a feminist one. So for the story to be compelling, a princess character with limitations in one area has to have some degree of freedom in other ways.

How this plays out is different for each story, and depends on the setting and the characters. A character with little agency like Sansa Stark from Game of Thrones who finds herself trapped among hostile people and has to develop alliances and soft power skills to survive is at one end of the power scale; on the other end are characters like Merida from Brave, who’s an excellent archer and is able to just leave the castle on horseback and go climbing mountains on her own, but still has to deal with being betrothed and comes to learn the value of her mother’s way of doing things.

One major source of power for most princesses is that they tend to embody a lot of what our culture considers feminine virtues, and I think that the celebration of these virtues is something else that causes them to be compelling, particularly to young girls. Modern princesses might even throw a mean punch and be clumsy, like Anna, or have magical powers and a repressed desire to wear a slinky dress like Elsa, but they’re fundamentally admirable people. We all respond positively to beauty, open and loving natures, concern for others and so on, and as we all believe we’re the hero of our own story, it’s easy to identify with these figures, particularly young girls who are just starting the process of figuring out this “being female” business.

In this sense, being a princess has nothing to do with birth and is entirely a matter of one’s state of mind — Cinderella was as much a princess in her ragged clothing as she was in her ball gown — and for that reason a princess can be both inspiring and an accessible role model. This is, of course, the whole point of the novel A Little Princess, whose heroine, who was merely rich, not technically a princess, strove to be an admirable, princess-like person even when impoverished and humiliated.

The flip side of this is that we too soon learn that, in our culture, all these virtues come with serious downsides. Being entirely free to express or not express femininity as you please is tricky, because if you’re perceived as overdoing or underdoing it relative to the situation you may get harassed or not taken seriously; the way that you personally want to present yourself is often a secondary consideration to how your appearance will be viewed by others, and not getting it right can lead to social punishment. What should be fun is actually complex and demanding in ways that are hard to see. As for those virtues, innocence, friendliness and generosity often get taken advantage of, and being modest, self-sacrificing and willing to take care of others generally doesn’t lead to financial security and respect in our capitalist society. The image of being “too good” or “too feminine” is one that women sometimes feel they explicitly have to move away from to be taken seriously. Princesses seem to escape all of this: their virtues are precisely what gain them power and respect, they get to wear the pretty dress and sing to wildlife without anyone thinking less of them and they don’t have to compromise what they like and what’s important to them to be taken seriously.

So I see the popularity of the Disney Princess line among adults and children (mostly women and girls, but there are men and boys who love them too) as a way of showing appreciation for the positive aspects of values such as kindness, friendliness and gentleness, as well as for the more theatrical aspects of femininity such as an interest in beauty and clothes for their own enjoyment, not for attracting men or projecting an image. I think we appreciate these things because they’re fun and they make the world a better place, but also because we know that they’re fragile and often not treated with justice in a society that is too often unkind to women and places impossible demands on them.

As the roles of women have been evolving, so too have the roles princesses play in stories, and I think that today there’s a lot of room for interesting stories about princesses. Of course, I’d like just as well to see plenty of interesting stories about girls and women without noble titles, and I worry that the focus on princesses is too limiting — sure, if I was in charge of counting the money the Disney Princess line brings in, I’d probably want all of our protagonists to be princesses forever and ever too, but there are so many other stories to be told. (I get a lot of stories about non-princess women from webcomics these days — Nimona, Namesake, Ava’s Demon. I have to mention Blindsprings, too, even though it’s about a princess.) Still, as I touched on before, princesses come with a history, and skillful, unexpected use of this history can make them relatable and fresh-feeling characters — that’s an attractive thing for a writer. Modern audiences already know the standard princess stories and tropes; as the success of Frozen shows, we’re now interested in seeing them toyed with and used in surprising ways. Princesses have the potential to surprise now more than ever.

I am going to shoot for doing a new doll next week, but it’s just as likely I won’t be able to finish in time, in which case I don’t know what I’ll be doing! Don’t forget that you can now download combined color and black and white PDFs of all of my 2014 dolls and outfits for free! Also follow me on Facebook, Twitter or Pinterest for sneak previews, paperdoll thoughts and lots of fashion plates. If you enjoy my work, I’d also appreciate your support through Patreon.


Aqua and Peach Elf Gown with Silver Beading

An aqua-colored gown with three-quarter sleeves and a low boat neckline. It has princess seams and is covered all over with a delicate scroll pattern. At the base of the skirt, the color changes to light peach, and there's a silver beaded vine pattern along the hem. There's an peach underdress that shows at the neckline, extending a few inches above the top of the gown. The light peach scroll pattern on it shimmers subtly, and there's a row of beading along the neckline. There's silver lacing along the collar of the aqua gown, and the dress is open over the bust, showing the underdress. The lacing crosses three times over the opening and is fastened under the bust with a brooch of silver and a coral-colored gem, then the laces hang down nearly to the bottom of the gown. The sleeves have long, delicate lengths of semi-transparent scroll-patterned peach fabric that hang down nearly to the base of the dress at each cuff.This gown is the product of my last contest, in which my readers first chose for me to draw an elf dress, then the contest winner Lorie Harding wrote:

Here is how I would like the dress colored. I picture the sleeves sheer and the dress done in soft pastel colors. My favorites would be peach and aqua. A delicate pattern of your choice would run through the dress. Thanks!

I like doing these contests just for their own sake, but also because I think that it’s easy for me to stick to what I’m good at, and other people’s suggestions help me improve. For example, I don’t think I really do a lot of dresses with this kind of light coloring, and I struggled to get the shading looking right. I still think I could have done better, but Friday is already upon me, and anyways I am pretty happy with this one overall!

Let’s get started with the next reader’s choice contest…

Next week will be a princess gown and some thoughts on princess culture. Don’t forget that you can now download combined color and black and white PDFs of all of my 2014 dolls and outfits for free! Also follow me on Facebook, Twitter or Pinterest for sneak previews, paperdoll thoughts and pretty illustrations. If you enjoy my work, I’d also appreciate your support through Patreon.