Clothed Figures Ebook
Fashion plates are the primary means of visualising ideas and concepts in costume and fashion design. To give an accurate impression of what is in a designer's mind it is vital to have complete mastery of the rules of figure drawing. Here, realism and anatomical precision are the chief values, whereas for costume and fashion, stylization and exaggeration are ways of adding individuality and verve to a plate, and of focusing attention on specific elements.
The figure looks dumpy because the legs are too short -adding extra length to the legs will make the figure drawing look more elegant and stylish. Note never draw the legs short just because there is not enough space at the bottom of the drawing paper, rather redraw using a smaller head (the guideline for the body) or use a larger sheet of paper The figure looks dumpy because the legs are too short -adding extra length to the legs will make the figure drawing look more elegant and stylish. Note never draw the legs short just because there is not enough space at the bottom of the drawing paper, rather redraw using a smaller head (the guideline for the body) or use a larger sheet of paper
To add life to the basic fashion pose it is imperative to understand how the body balances. The vertical balance line (V B) is an extremely useful guideline to ensure a figure drawing is well balanced and never appears to be falling over. The V B line drops vertically from the pit of the neck to the ground. It never bends - it hangs like a builder's plumb line.
Fashion Artist - Drawing Techniques to Portfolio Presentation has been designed as a self-teaching book both for the novice and those who wish to enhance their drawing and design skills, and communicate their designs ideas on paper as part of the design process. Fashion Artist progressively guides you through a comprehensive set of fashion drawing and presentation techniques, an integral part of this is the development of several popular fashion poses which become your fashion templates. Starting with very basic shapes and figure drawings, you will quickly progress along the learning curve to produce visually exciting illustrations and a professional fashion design portfolio - the passport to your career. The text is supported with explanatory drawings and photographs to clearly demonstrate the drawing techniques, together with plenty of drawing exercises and examples from designers and illustrators around the world.
(M) Typical 15th century underpants based on several illustrations left, the commonest style (Ducal Palace, Dijon) right, 'bikini' pants with side lies - far less common, these do appear in some Swiss-German and Italian sources. Tiny black ones appear in some manuscript illustrations, but may have been added to nude figures by later, more prudish hands.
Although it is important to gain a thorough understanding of how the body is c onstructed, a fashion illustration is not always an accurate representation of reality. I'Xiiggeralingsome aspect of the figure can add interest and character to the work. I ashion designers and illustrators often elongate the figure to give it more elegance and grace. To elongate a fashion figure, use the traditional measuring technique but increase the amount of heads used in the body length, For example, a figure could be stretched to ten or more heads in height. When stylizing a drawing by increasing ilic height of the figure, fashion illustrators usually emphasize the length of the legs. To keep proportions relatively sensible, calculate the legs as making up two thirds, i nther than half, of the total height. The step-by-step exercise on the following page leaches you how to exaggerate leg length and fit the tall figure on a page. Use a figure from one of your life drawings, or from a magazine, for...
Depicting the qualities of fabric accurately brings authenticity to a fashion illustration. To achieve a professional standard of fabric representation, develop an understanding of different fabrics and observe the way in which they drape and fall on the body. The best way to gain this knowledge is to sketch clothed figures. Notice the shapes the fabric makes around the body, rarely lying flat but moulding itself around the contours of the figure. Observe the way that looser garments hang while tighter fabrics stretch on the body, and practise drawing the effects. It would be useful to collect a range of fabric samples and practise drawing them, observing the way they fold and fall. It is also worthwhile visiting a museum or gallery and sketching from figurative sculptures to discover how fine fabrics are cleverly rendered in heavy stone. Visit the old-master paintings, too, to observe how these artists skilfully represented fabric.
Balenciaga gradually honed his design in daywear, building out from the base of apparently traditional tailored suits with neat, fitted bodies and sleeves that sat perfectly at the shoulder into experimentation that led to the minimalist no-seam coat (1961), crafted from a single piece of fabric by the artful use of darts and tucks. This garment hung loose on the body and embodied the culmination of a range of loose or semifitted lines in various garments that probably constituted Balenciaga's most important contribution to fashion. These designs emerged gradually during the 1950s, flattering different female figures (mature and youthful) and allowing the wearer to move easily. The tunic (1955), chemise or sack (1957), and Empire styles (1958) drew attention away from the natural waist through the creation of a tubular line or the emphasis that a bloused back laid on the hip line or that a high waist laid on the bust. Suit jackets were judiciously cut, and their matching skirts were...
Queen Anne.15 Gower, in his ' Confessio Amantis,' particularly alludes to the new guise of Berae, and describes, in the same poem, a route of ladies mounted on fair white ambling horses, with splendid saddles, evrich one ride on side (t. e. sideways), another fashion said to have been introduced by Anne of Bohemia, and at this time a mark of high rank.10 They were clothed all alike in rich copes and kirtles, departed white and blue, and embroidered all over with the most fanciful devices their bodies were long and small, and they had crowns on their heads, the least costly of which could not be purchased for all the gold of Croesus' hall. The following engravings represent five female figures, taken from various illuminations of this period. Figures a and b exhibit very clearly the side-less garment faced with fur, and terminating in long full skirts, described in the last chapter, and worn over the kirtle. Figure c shows a lady in kirtle alone, as the ancient romances tell us they...
Sometimes making a simple copy of a figure from a photograph is the most helpful way to start a fashion illustration. You are already working with a two-dimensional image, which is easier than working directly from a three-dimensional figure. Moreover, if you do not have access to a life model at the appropriate time, drawing a figure accurately from memory is not a common skill, Most people need a source of inspiration to begin a drawing. Trace the outline Select one of your own figure drawings or a suitable magazine photograph, place layout paper over it and trace the image. Now simplify the drawing to create ,1 clear outline, ensuring the proportions of different parts of the body are correct in relation to one another. Suggest the face and hairstyle but do not draw every hair and eyelash. Unless you are adding accessories, the hands and feet also need only be implied.
Robert Beverly Hale, Master Class in Figure Drawing, New York, Watson-Guptill Publications Inc., 1991 Andrew Loomis, Figure Drawing For All It's Worth, New York, The Viking Press, 1949 John Raynes, Figure Drawing and Anatomy for the Artist, London, Octopus Books, 1979 Mark Simon, Facial Expressions A Visual Reference for Artists, New York, Watson-Guptill Publications Inc., 2005 Ray Smith, Drawing Figures, London, Dorling Kindersley, 1994 Bridget Woods, Life Drawing, Marlborough, The Crowood Press, 2003
If you are relatively new to figure drawing, you may feel daunted by the apparent complexity of the subject. It is a common belief that drawing the figure is the hardest artistic talent to develop. How many times have you heard phrases such as I can't draw faces or I can't draw hands In fact, good drawings of figures are not so much the most difficult to achieve as the easiest to judge. We know the layout and proportions of our bodies so well that we notice inaccuracies instantly. The result is that, unless a drawing is remarkably accurate, it is deemed poor and the artist loses confidence. To broaden your knowledge of anatomy, visit a natural-history museum or refer 10 books to make studies of the skeleton, and the joints and muscles that operate to move the bones. By gaining an understanding of how joints move and which bones fit together, you can create more realistic figure drawings. An understanding of how fabric drapes around the body is vital for drawing i lie clothed figure...
For the Dior couture show that same season Galliano created a giant crowd scene, a fantasy carnival of confetti and human figures in apparently endless celebration. Yet it would be wrong to confuse this fantasy crowd with the actual crowd of a Parisian international exhibition of the late nineteenth century. The crowds at such world fairs consisted essentially of middle, lower-middle and sometimes working-class people the displays made luxury and excess available as a spectacle to the many who, while they could afford the entrance ticket, could never aspire to owning the exclusive and expensive consumer goods on display. The exclusivity of the couture show has more in common, perhaps, in its studied artifice and minute attention to detail, with Huysmans novel A Rebours of 1888. Its dandyish and fastidious hero Des Esseintes constructs a dream world as a counterpoint to what he sees as the nightmare of mass consumption. Rosalind Williams argues that A Rebours 'makes a powerful case for...
So pretty, she's ugly. So ugly, she's pretty. The ambivalence and double-sidedness of beauty has been the keynote to my art. The perfection of my models is clearly artificial. They seem flawless and arouse fascination through perfection, thus idealizing and elevating attractive female figures. Beauty becomes absolute.
Draw every day if you can. I highly recommend a lot of nude figure drawing. It's so much easier to draw a clothed figure when you know what it looks like underneath. If you can't get nude models, draw your clothed friends. It's always best to draw from life rather than a photograph, but photographs are good when you can't get someone to sit for you.
Following high school, Norell joined the military, since he had no interest in joining the family business. After he returned from the service, Norell's mother realized her son's talent in clothing design. She helped to finance his trip to New York to study illustration at the Parsons School of Design, as well as figure drawing and costume design at Pratt Institute from 1920 to 1922.
Helmets of the time of Richard II. on two female figures in aii illuminated copy in the Roman de la Rose, in the collection of the late F. Douce, Esq. Helmets of the time of Richard II. on two female figures in aii illuminated copy in the Roman de la Rose, in the collection of the late F. Douce, Esq.