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Becoming a Professional Fashion Designer

Become a Professional Fashion Designer

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Pencil Drawing Fashion

Dry brwih

Courtesy Waldorf-Ailoria Hotel

Fashion Drawing For Beginners

Lithograph crayon Courtesy American Magazine

There are many ways for the beginner to break into the commercial field. Always the best at the start, is the salaried position on the staff of an art service, in the art department of a department store, newspaper, engraving house, lithographer, printing plant, greeting card company or advertising agency. These are the best but there are many other jobs, some highly specialized. The alternative is to "free lance," meaning to work as an independent artist for many clients, acting as your own salesman and being paid independently for each drawing you do. Magazine and book illustration comes more under the free lance category since many publishers do not maintain an art staff.

If you do not live in an area where there are art studios and advertising agencies, there is your local market which, if properly explored, is much larger than you imagine. Right around your corner may be your local beauty shop, your department store, milliner, dress shop, restaurant and the food markets. They all must advertise to influence local trade—and that's where you come in. They must have drawings of their products, posters, window cards, letterheads, folders, blotters, envelope stuffers. You won't make much money at first, but you will be gaining what all beginning artists need most — the confidence that comes from doing a practical piece of work to fit someone else's problem. Your local printer (and every small town has one) is constantly soliciting local stores and specialty shops for printing and will welcome an artist who will cooperate with him in making sketches that may aid him in getting printing contracts.

Until now in your course, the selection of the mediums you have used to make your pictures has been a personal one based on your special liking for one or the other. However, in advertising art and illustration, the choice of a medium has a positive technical side, the extremely important problem of choosing the medium and technique best suited to fit the mechanical requirements of engraving, production and printing of your particular assignment. The methods of using different mediums are almost as numerous as the artists who use them.

A single issue of a national mass magazine, picked at random, had in its advertising pages — exclusive of photography — pictures drawn in the following mediums: pencil drawings — alone and in combination with wash, pen and ink, ink in combination with Ben Day screens, wash and color, various other ink treatments such as dry brush and scratchboard, air brush drawings, transparent wash and gouache drawings in black and white, oil paintings in full color and water color drawings in transparent color and gouache.

No illustration you attempt, regardless of its artistic qualities, will be a success unless it can be successfully printed by the method for which it was intended — hence "the proof of the pudding" is not your illustration, but the reproduction of it which the public sees in print. It seems obvious, therefore, that you cannot be a good commercial artist until you think of each picture you make in terms of its reproduction.

Even though technique and medium are important, the artist must keep in mind thai the average reader of a publication, or any printed matter, is seldom interested in the technique employed by the artist — but rather in the clear presentation and the interpretation of an idea or product

On the following pages you will be taught all the studio procedures, the use of mechanical aids and the many types of work to get you started as a practical working artist, either in an art department or as a free lance artist. If you master diese well, you most surely will be on your way to a successful career.


Courtesy Waldorf-Ailoria Hotel

Dry brwih lino and Ben Day

Th* most important point to remember in any work of art a* well as an advertising picture is that the concept is its most important element. The good artist must be on interpreter first—his skill in techniques is valuable as a means but never as an end.

Lithograph crayon Courtesy American Magazine


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