I led overview of fashior ,entation and illustra c covers all aspects 01 la: exercises, examples ancl s , LI - - - ~ from n the initial

inspir;...~n tt.. - . to range building and t c ng. There is comprehensiv advice on ) draw the figure, on , n of art materials, the use o f colour a n d techniques for rendering ies of tutorials explores different media, both traditional and digital, : uwcase chapter traces the history o f fashiotl illustration as well as featur111~ ..~ r of k thirty-five leading contemporary illuslcators and artists. To help illust,,,. prepare for a career in fashion, thcro is guidance on portfolio presentation and a series of interviews with indu! specialists.

USI

Bethan Morris

FASHION ILLUSTRATOR

Laurence King Publishing

INTRODUCTION
Who is this book for? 6 What is in the book? 6

5
HISTORICAL AND CONTEMPORARY FASHION ILLUSTRATION
The beginnings offashion illustration 82 CONTEMPORARY fASHlON ILLUSTRATION SHOWCASE 10
93

INSPIRATION
Discovering sources of inspiration IZcsearchlng themes 14 Working sketchbooks 18

1

6
TUTORIALS
Hand embroidery 160 Painting 162 Drawing with ink 164 Collage 166 Computerized machine embroidery Adobe Illustrator 170 Adobe Photoshop 172

2
THE FIGURE
Drawing from life 24 Templates 32 Rody proportions: theory and practice 48

168

3
ARTISTIC TECHNIQUES
Art materials and equipment 48 (:alour 56 I:abric rendering and pattern reproduction 60

7
THE FUTURE: GUIDANCE
Portfolio presentation 176 The future: making choices 180 Interviews 185 Stephanie Pesakoff-illustration agent 185 David Downton-fashion illustrator 186 Lysiane de Roybre-trend forecaster 190 Jeffrey Fulvimnri-commercial fashion illustrator
a*.

4
PRESENTATION FOR FASHION DESIGN
Mood boards 68 Design roughs and range building 70 1:lais and specification drawings 76 Fashion-design presentation 78

192

Further reading 196 Tkade publications and magazines ,Useful addresses 199 Glossary 202 Index 204 Picture sources and credits 207 Acknowledgements 208

199

Published in ZOO6 by Laurence King Pubiishinp Ltd emall: enquiries@laurenceking.co.uk www.laurencehlnq.co.uh

O 2006 Bethan Morris
The morel rlqht of the author has been asserted All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, inciudlnq photocopy, recordlng or any infomation storage and retrlevai system, without prior permisslon In wrltlnq from the publisher. A catalogue record for this book is available from the Brltish Library

Desiqned by David Tanquy, Praline Plcture research by the author and Peter Kent Printed in China

Ronlispiwe Kareem llliya

Norrrcouer Robert Waqt
Backcowr Rebecca Antonlou

TRODUCTION .

The art offashion illustration is once again in vogue. Through this exploration. By explaining tho fundamentals of fashion illustration and presentation. Fashion Illustrator covers all aspects of fashion illustration and presentation. many successful designers only design clothes. Under the umbrella of Fashion illustration. an understanding of the flgum and experimentation with different illustrative styles. WHO IS THIS BOOK FOR? For the Duroose . but will this trend continue? Theanswer must be yes. Covering the broad area of fashion illustration and presentation. Fashlora Illustrator encourages readers to challenge themselves by experimenting with varied media such as collage. this book will prove invaluable for both fashion-design and fashion-illustration students. and illustration is a popular medium for fashion advertising. Fashion Illustrator explores the skllls required to create an effective portfolio. practical exercises and tips. this book focuses on the fundamentals of fashion drawing and presentation throughout the design process. It is common for such designers to employ fashion illustrators to present their collections and promote their labels. we yearn for the individuality expressrd by the new trend-setting image-makers. Fashlon iltustrators who experiment skilfully with unusual media and innovative design are warmly welcomed. how to represent garments technically and how to compile mood boards. Fashion Illustrvltor dedicates a practical chapter to the figure that should be referred to regularly throughout your srudies. so Fashion Illwtratorreveals how to experiment effectively with coiour. Fashion Illustrator serves as a valuable resource and teaching aid. as well as how to illustrate fashion ideas. While Fashlon Illustrarorprovides a valuable knowledge . how to use art materials and equipment. the most Important skill to master is drawing the human figure. its place in thefuture commercial world is assuiJ. and contemporary fashion illustration. Whilefashion illustrarion continues to develop and offerfresh interpmatlons. and how they use this inspiration In the creation OF their work. character and media for a particular client. Many books aim to teach the skills required to illustrate fashion. As the fashion-design student must present fashion ideas to gain employment on graduation. Imaginative research directions are revealed. R explores how artists find inspiration in the world around them. and how to select the appropriate artistic style. In an age of lncreasingstandardization and aummarion. design and illustmtion. digital enhancement and embroidery.base for the fashion designer. but Fashion lllllstmtor combines a how-to ap~roach wlth a visual overview of historical ".Fashion-illustmtion titles line the shelves of bookshops. It covers a wide range of artwork created by fashion designers and fashion illustrators. different drawing tools. and bringing this rewarding creative process to life with rich detail. and these manuals are displayed alongside showcase books featuring edited collections of illustrators' promotional fashion artwork. It Is useful for anyone with an interest in fashion. WHAT IS I N THE BOOK? Enriched by case studies. of this book the term "fashion illustration" is broad. . The Fashlon-illustrationstudent's portfolio will therefore be geared towards advertising and promotion. . example illustrations. These categories have traditionally been separate. magazines often illustrate features rather than use photographs. Whether you want to be a fashion designer or a Fashion illustrator. A flexible approach is required for working to briefs from a variety of clients.

. The chapter begins by discussing the importance of looking for sources of inspiration from which to develop ideas. Each chapter can be read in Isolation and the book can be read In any order so that the render can dip in and out to focus on current concerns. museum and gallery visits-even product packaging. Examining tlic work of both past. A~tists are invariablv avid collectors af what.and present-day fashion illustrators encourages students to gain the confidence and skills to ~ u s the h boundaries of thelr own work. the reader will learn how to present the clothed human form artistically.A digitally enhanced frshlon llllurtratlon by Rebecca Antoniou.. The varied processes for capturing ideas and investigatlng themes on paper are also cxplained to help the budding fashion illustrator tadde the daunting blank page. understand vlsual expression and produce innovative fashion illustrations. film. Inspiration for fashion illustration can be found through travel. "Inspiration': explores the things that inspire the creative mind. In-depth discussions with leading contemporary fashion illustrators provide insights that inspire students to think beyond graduation to a career in fashion illustration or design. muslc. to the uninitiated eye. ~. .avcaling how to flnd rewarding Ideas. Chapter One emphasizes that accumulating anything and everythlng of interest is a fascinating way to build an ideas bank for future designs or artwork. The content of Fashion Illustrator is presented in an easily accessible format with each colour-coded chapter broken down logically into subheadings. television. sketchbooks and artwork. the reader is encouraged to look at the world with fresh interest. Chapter One. looks like junk. With this in mind.

Lysiane de Roykre of Promostyl descrlbes the role of the fashion illustrator in publications forecasting future trends. Chapter Three. and their significance in a fashion designer's portfolio. and we see examples of his highly successful commercial product packaging. At the end of the book you will find a further reading guide. focuses on basic drawing skills. All offer interesting advice and inspiration to students who are thlnking of following similar paths. and JeffreyFuivimari descrlbes how his doe-eyed girls have wooed Madonna and are taking the fashion world by storm. This chapter encourages the reader to build fashion illustrations in stages. "Presentation for Fashion Design': reveals how fashion illustration is used in the design industry. The tutorials focus on collage. Through a series of observational exercises the reader learns to draw the nude and clothed figure from life and photographs. "Tutorials". applying Por further education and embracing a career in fashion illustration. and an index. traditional painting and drawing methods. . experiment with colour and render various fabrics. and digital manipulation. embroidery. 'XrtisticTechniques': gives a technical overview of how to use art equipment and materials. interview techniques. "The Euture: Guidance". "The Figure". Each illustrator defines his or her work and career by answering a series of interview-style questions. Chapter 'ho. a list of trade publications and magazines. Chapter Eive.providing a solid understanding of anatomy and the physical structure of the human form. experimenting with new techniques. It explores the process of producing design roughs to build fashion ranges. Practical advice is given on completing useful sketchbooks that provide a source of rewarding inspiration. takes the reader through the final part of the fashion illustration journey by outlining effective portfolio presentation techniques. useful addresses. The illustrative styles of the twentieth century's most influential illustrators are discussed by decade. The role of the illustration agent is clearly described and other industry speclalists $peak exclusively about their fashion-illustration careers. flats and mood boards. and in addition the picture credits. There is also instruction on self-presentation. "Historical and Contemporary Fashion Illustration': describes the social journey of fashion illustration over the last 100 years. Chapter Six. a glossary. It also explains the purpose of specification drawings. understand correct proportions and draw features of the body accuratelp The use of a template and the effective exaggeration of the proportions of a fashion flgure are also explained clearly.Compiling ideas in a sketchbook is also an essential part of both a designer's and an illustrator's development. which include contact details for the illustrated artists. Finally Chapter Seven. David Downton offers advice on capturing the magic of couture shows with pen and ink. Illustrators of today inevitably look to the past for inspiration and this section also features work that demonstrates this synthesis of past styles and modern techniques. Chapter Pour.explains how the illustrative styles indentified in the previous chapter can be realized through a series of step-by-step tutorials. The second part of the chapter showcases work by 36 leading international fashion illustrators from 14 countries. This guidance is visually enriched by a series of informative sketches and relevant fashion illustrations.

.INSPIRATIC. .

Often the exhibition you least expect to enjoy delivers the most inspiring results. This chapter w i l l help you enruts that your porgolio stands out from the mwd. everyday objects suddenly have new meaning and potential. inspiration for cxeative artwork is everywhere. television and film releases. The irneqe provlder an Ideal starting polht for a fashlon Illuatratlon. When you open your eyes to the world you will dlswver that it is overflowing with potential to trigger imagination. observations in creating innovative fashion illustrations. as well. - Ta*. haw to make visual use of the world around you and how to apply . or Sh%tCninp. you're not looking properly-so look again. Pans and Copenhagen. when you bring to the idea your own personal response. watching for new trends in cities such as NewYork. Never be without a camera or skemhbook tocapture and record insplrationh scenes. By embracing the experience. your .. already exist somewh~ra eisi The truth is that few ideasare entirely new. how might you apply the trend for knitting cafes in NewYork or permanent spray cosmetics (whereby coioura are applied permanently like a tattoo) in Tokyo to your artwork?And never underestimate the importance of visiting galleries and museums. Tokyo. No matter how seemingly irrelevant to fashion contemporary art exhibitions might sometimes seem. To help you to discover astartingpoinr. For example. Somdmes embarkingan thatjourney . l ~. designs and artwork. BegPn by wandering around your home.nq photoqraphs of. objects or people. but leis only a ~ u i dto e help you on yourjourney. as Pablo Picasso said: "Everythingyou can imagine is real. If you a n lucky enough to rravei abroad. ~rearin~somethingnewfivm scratch is a daunringprospe." This is good advice. or probably.Wlth such expectatlone you are not alone if you fed daunted try the prospect of creating anwork. The old wallpaper in the sitting room could be a good background for an illustration." However. The illustration on the facing page has been drawn directly onto old-fashioned w a l. or a photograph ofyour sister may supply the perfect fashion figure silhouette for a template. . in the best sense. Experiencing other environments through travel stlmulatee creative imagination and need not involve the expense of going overseas. "The artist is the person who makes iife more interesting or beautiful. Monitor change8 and behavioural shifts in bla . visit the countryside. Don't be put off if you find that your ideas -. and vice versa. Read a varietv of books and magazines. Theatrical costume and set design can also stimulate interesting Ideas. Keep up to date with the news and world events. If you live in the city. eat new foods and recognlze cultural differences. deglgners and illustrators look €orsources of inspiration to develop rheir work and focus on absorbing new ideas all the time. for any artist. This girl in a busy Park street stood out because of her brlqhtly coleured umbrella and coordlnatlnp outflt.cities around the world. is the hardest part.. more wonderful!' This is a tall order for the anist. London.You will be surprised how mundane. Where exactly do you look for inspiration? As Brlti~h designer Sir Paul Smith says: "You can find inspiration In evetything and ifyou can't. a~er. visit local market.propls you see in the street gives you a rewaralnq variety of ftaures ena stances tor yoLr Illustrations. and communities. muqic and lifestyle editorials. .your . Like all artists. you will come away from your trlp with a wealth of Inspiration. and not the only one who finds it hard to know where to begin. familiarizing yourself with interior trends.This bookgivss a solid groundingon all a$pectsoffhhlon lllusmrton. You will discover how toflnd lnvplratton and how to use It. you provide an original interpretation. more understandable or mysterious. DISCOVERING SOURCES OF INSPIRATION American palnter George Beiiows (1882-1925) once stated. . as fashion. it is worth visiting them. this chapter reveals how to flnd lnspii-ation. 7 - .. looking at it with fresh eyes. observe tradlti~nal co~rumes and everyday clothing.

Art materials. I A bulidlng's interior structure can be as much a source of inspiration as that of the exterior. Even a trip to the supermarket can awaken new ideas as you look at the variety of vibrant packaging on the shelves. Keep up to date wlth the latest trends and open your mind to new sources of inspiration. wrapping. Every decade sees a revival of the style of a past decade. Keep everything that captures your imaglnation. interesting lines for fashlon design or illustratlon can be seen In the timber structure of t h ~ s wooden roof. or i t could be that the coiours lnsplre future artwork. An ingenious touch is to allow the pattern of the wallpaper to become the fabric of tne garment No artist can proddc creative Ideas w t h o ~ a t 6nowledao base of ioeas aa neo from magazines. Arguments about the amount of clutter you possess might occur with those who share your home. but stand your ground1This clutter could one day make you a famous artistthinklkacy Emin's "Bed. designer or illustrator you are always open to visual stimulation in your normal day-to-day life. In fashion. advertisements. To complement the wallpaper background.way . COLLECTING INSPIRATIONAL ITEMS Artists are invariably avid collectors ofwhat to the uninitiated eye looks like junk. As an artist. Your thoughts might be awakened by listening to cumpelllng music. and a wide variety of other sources. It seems that i t is second naturc for ua to draw from the past to illustrate the future. for example. today's garments date quickly yet bygone eras are always a source of inspiratiun. an Image in a magazine might inspire a new idea. This type of inspiration is all around you waiting to be discovered.Here the illustrator has been inspired by a patterned wallpaper. Nostalgia for the past will always captivate us. unusual papers. packaging and scraps of fabric are worth storing as you may well be able to utilize them In your Beach huts seen on an Australlan beach have added Interesting accents of colour to the dramatic shoreline. books. to build an ideas-bank for future design or artwork. drawing a fashion figure directly onto It. This scene could be used In a fashlon illustration.anything . an absorbing [clevision documentary might activate your creative energy or a favourite poem conjure up engaging imagery. Accumulating and everything of Interest is a fascinating . this student artist has used a subtle colour palette. In museums. too. a wealth of inspiring artefacts and memorabilia awaits your urtistic interpretation. as you never know when It might be useful In the future. landscape or gardens whose intriguing shapes and tcxtures trigger your imagination. .Your journey home might take you past architecture.

fhn memorabilia. shapes and details of these rows of brightly coloured bangla. handbags. makes a marveIlous srarting point for a fashion Ulusttation.ahapes and d W 8 . out-of-print titles as well as keeping up to date with new titles. In Chapter Five you will find the work of Peter Clark. to create delightful collaged fashion illustrations. If you take a sketchbook along you could even practise making some obsemtfonal figure drawings while you are choosing which book to borrow. Look closely at the colburs. and see how they Inspire the background for this fashlon lllustratlon. Many illustratorvr look for interestingstamps. Books b r m a particularly uaePul collection. Look in secondhand bookstore8 for older. and think how they could be incorporated into a piece ofwork. calendars. They then put thelx own origlnal slant on the ideas generated by their collection$. The Further Readlng guide on pages 196-98 gives a list of fashion and fashion-illustration titles worth Bndlng. key rings. Iust browsing is co~tly through the shelves In a peaceful environment can be a stimulatingprocess. buttons and so on in car-boot sales. providing a constant and varied source of Inspiration. who uses found papen. broadening your collection so that it offers an ever-expandingvariety of ideas. either because they get pleasure from looking at them or because they can see creative potential in them. cigarette cards.The trained eye can $pot artistic potential in alrnogt anything. But remember that books on all sorts of other subjects might spark Ideas. LOOKclosel~ at tne CoIoLrs. - . jumble sales and charity shops. I I artwork. such as maps and cigarette packets. n airnost anvth no.A coUection of bangles above. for example. People collect all sorts of unusual items. Collectlng books so it is worth becoming hmiliax with your local library.A tra ned eye can spot artistic potentla. The striped clothlnq also reflects the brightly coloured rows. too.

during the exhibition (. who must combine keen observational skills with creative interpretation. The floral design of the fabric is instrumental to the artwork. As magazines are printed more regularly than books their content is usually "ofthe moment': Such up-to-date images can Inform and inspirc your wcwork. E rn [ . 0. Maintaining a lively interest in the world is vital for the fashion illustrator. Above Visit as many exhibitions as possible because vou never know whlch one might provide valuable inspiration.Invest in other forms of media. e f t This fashion iiiustration has been created In a monotone peiette to reflect the biackmd. Postcards from galleries can also be an economical way of taking home .lorglo Ar'tna~rl:AIfetrnspoctieo. Many artists have boxes of postcards saved horn a lifetime of visiting exhibliions Iiiat they use repeatedly as inspirational references for fashion illustration. white photograph of a Giorgio Arrnani dress. if the exhibition catalogue is too costly for you. buy postcards of your favourite images. such as magazines. journals and postcards. This postcard was bought at the Royal Academy o l Arts. particularly if you can't afford an ext~ibition catalogue.I little piece of inspiration. In London. too. .

from an antique Japanese silk fan to graffiti art on trainstation walls-the range of inspirational resources in the world is endless. the inltial subject of a butterfly having a wealth of associations. mounted onto handmade paper. A good starting point in the investigative process is to form a list of words that are associated with the theme. ~ncluding collage. revealing Its dtverslty as a research direction. The simplest starting point for this is to select a theme to investigate and develop. This is known as "mind-mapping" or "brain-storming'! A buttemy theme is explored (facing page) by listing the words that spring to mind while concentrating on the image. The Images demonstrate a visual exploration of the butterfly theme. Albert Elnstein said that "imagination is more important than knowledge': However. only choosing themes that truly inspire you. The prospect of plucking new ideas out of thin air and arriving at an original artistic solution can be unnerving.RESEARCHING THEMES There is no doubt that one of the most daunting aspects of creativity for the artist is being faced with a blank page. with almost every word capable of inspiring a new investigation. drawlnq and cut-outs from magazines. Your chosen theme must continue to hold your attention while you explore its creative elements. it is easy to become indecisive. before most artists can begin to produce artwork from their imagination they need to establish the knowledge base from which they will work. This exploration shows how a butterfly theme can be used to inspire fashion designers as well as thc fashion illustrators who illustrate their garments. With so much to stimulate your imagination. This is why it is important to develop a knowledge base from which creative ideas can grow. or idea. . Notice how the butterflies have been used to create repeat patterns. painting. The words create a number of research avenues to follow. Colour studies have been made of many butterfly varieties.This can be anything that interests you. The textures of their wings and the symmetrical patterns across them have been represented through painting and drawing. Four studies investigating the butterfly as a theme show different media. The key is to be selective. of a butterfly. The images below show how a theme can also be investigated artistically. The popularity of the butterfly as decoration in fashion has also been emphasized.

feathers
caterpillar

symmetry colour pattern summer ailve

'Ites

moths

b'"les wings

flight

Onq
n : a 4 ;t e I::' decoration jewellery transformation: ugly-beautiful fentasv accessories maglcal mystlcal

I@ This mind.map shows a selection of words linked to a butterfly theme. A pattern of words produced In this way can lnsplre many ideas for fashion Illustrations.

Below
The role of the lmaglnatlon Is as signlflcant as that of knowledge. Once Inspiration Is found, research materlal collected and a theme established, the Illustrator concelves a wealth of lmaglnative Ideas. This lllustratlon has been create0 us nq a mix of tradltlonr draw np tecnnlg~es for the f oure ana PnotosnoD collage to add the bitterflles.

aeroplanes repeat pattern delicate soft harmless

INVENTIVE INSPIRATION

An interesting way to find inspiration for a fashion illustration is to invent a story around found objects. Try carrying out the exercise demonstrated on this page and see how your ideas differ from the illustrator's finished artwork. Start by looking carefully at the objects. Certain aspects will appeal to you more than others. You may find that a particular detail sparks off a train of ideas for a fashlon illustration. The objects were chosen because they are commonly llnked by age and colour-all have an antique, aged feel and date back as far as 1908. Focus your attention on the objects to absorb as much information as possible before you begin your illustration.

5

Abow The dance card Is an lnterestino object. In years gone by, women used it to record the names of the men whoarked them todance. Thls innocent means of flirting and dating could inspire an il ~ s t r a t ~ o based n on nosta g ~ c romance. A most one hdndre0 years otd, this nandbaa Is decorated wlth the sort of hand embroidery that has enjoyed a revival durinq the recent resurgence In tradltlonal craft techniques tor teshlon and Interiors. Such embroidery could Inspire decorative clothlng in a fashlon illustratlon, or be used as a medium for the artwork itself. The floral buttons could be drawn ~ n t fashion o oarments, or tha flowers utilized somehow In the ~.l.stratlon. Rcrro graunics on Ine pacraq na COLIO a so st m ~ l a t e creative thlnr na. The cottons provide a tonal colour paletti that links the objects and qlves a starting po~nt for coloJr cnoices In tne ' lustration. It Is often Oifficult to make colour choices when Illustrating and many mapcs are suo t DY uslng too many CoIours. Cons~oer tnat most people dress In a llmlted palette, and bear in mind, therefore, that it is often advisable to limit your fashlon Illustration to a few complementary shades.
Rlgltr Although nothing dates more quickly than fashion, objects of the more remote past are endowed with nostalgic Imagery that can lnsplre contemrrorary artwork. Thls illustration has been created using hand-drawlnq methods and enhanced using a computer. Fabrics of a similar colour palette to the lnrpiratlonal objects above have been scanned and combined wlth the hand. drawn garments. The background and antlaue frame were also added using a computer.

mP U A closeup photograph of freshly caught mackerel from Aberporth beach In west Wales provides an Insplrlng starting point for stimulating creative Ideas. Notice, for example, the Ilght-reflective textures and interesting patterns.
7bp right

In a mlxedvnedla collage, silver foil represents the sniny texture of the reflective fish scales, and the shape of the eyes Is recreated with transparent ColOured discs and metallic paints. LSlr These shoes have been deslqned with the fishmeye patterns in mind using marker pens. To create the effect of water, the background of the Illustration is created using wax resist and Ink.

IMAGE INSPIRATION Wiien you have Found a thcmc that interests you, explore it further to discover your clwn personal artistic response. Por example, look closely at the patterns, textures, shapes and coiours in an image that you find appealing, then experiment by reproducing and lnterpretlng them using a variety of media and techniques. The three images above show how simple it is to work using s theme. The starting point is a close-up photograph of freshly caught mackerel. It was selected as a source ot inspiration because of the many elements it offers for creative development. For cxnmple, the shapes croated by the fish eyes were the designer's inspiration for the patterns on the shoe, while the reflective coloun and textures depicted in the study helped the illustrator decide on the shoe's tonal contrasts.

WORKING SKETCHBOOK
A sketchbook is a visual notcbook or diary. It is a personal response to the world

Oppmitc,top Research for the theme "Hot Metal" was collated and mounted into a sketchbook for easy reference, and to provide inspiration for future deslons and illustrations. The black pages act as aitrong background for maoazlne cut.outs, textile sampllnq, fabric manipulations, sketches, photographs, rough designs end personal reflections.

A womenswear fashion collection based on the "Hot Metal" theme has been drawn to aroduce what is known in the InduZtry as a "line.upV, in which a deslgner vlews the collection on one page to see if the garments work together as a whole. The orlqinal deslqns were photocopied onto gold paper Op(wsi1a:huiow rlglit To contlnue the theme, "Hot Metal" fashion Illustrations have been presented on sheet eiumlnlum,The figures have been palnted and their clothes added with fabric collaqe. The fashion Illustrator or designer Is always open to experimenting with new materials.

and can assume many different guises, varying from being a portable scrapbook in which to collect interesting pieces of fabric or pictorial references, to a book of abservational drawings and ideas.Ali may, one day, provide that essential spark of inspiration. A sketchbook provides you with the opportunity to practise design, drawing and illustration skills at any time and In any place.You can develop figure studies by sketching the people you see at a local park, or on a train, or even by sluing on a bench in the high street and drawing the shoppers. Sketching scenery, such as interestlng architecture, also helps to create ideas for illustration backgrounds. Most artists kecp sketchbooks in which they with ideas and collect . experiment insightful imagery. Picasso is said to have produced 178 sketchbooks In his lifetime. He often used his sketchbooks to explore themes and make compositional studies until he found the subject and concept for a larger painting on canvas. Like Picasso, you will havc numerous sketchbooks throughout your education and career. Somc you will use for researching specific themes while others become constant companions for recording ideas that will provide future inspiration. Producing useful working sketchbooks is an essential part of an art studentk development. Academic design and illustration briefs often request a sketchbook containing appropriate research to be submitted for assessment. Ideally, the sketchbook presents an explorative journey around a chosen subject area. A working sketchbook should be impulsive, experimental and in constant use, bccorning an accumulation of ideas and research from which to draw inspiration for design and illustration. Sadly, this advicc Is frequently ignored and sketchbooks are produccd whose clean pages are decorated with neat cuttings, ordered sketches and unused material from presentation boards. Generally this method ofworklng results in tedious sketchbooks of carefully planned pages, often with Post-it notes acting as a rcminder to flll blank pageo, By organizing a sketchbook into a precious album in which the artist arranges experimental work at the end of a project, creative spontaneity is often lost. The sketchbook then becomes a useless tool rather than a rich resource lor imaginative artwork. The "Hot Metal" sketchbook research (facing page) gave the designer plenty of scope to create a collection of womenswear. The design roughs show how the coiours explored in the research, and the woven, metallic fabric experiments, were interpreted in the garments. Much of the research imagery of rusting metals and soldered cara is also reflected in the garment shapes. Inspiration from the research also carries through into the fashion illustration. Instead of the obvious white paper, sheet aluminium was used as a background for the artwork. The figures were sketched In permanent marker and paint, with the clothing added separately. Heated copper was used to create a bodice and skirt while other outfits are made up of appliqu4d leather and denim, lbpstitching and garment details were drawn using silver pen. All of these techniques, first explo~ed in the research, demonstrate the value of researching and exploring a theme in your sketchbook.

.

llghtnlnp has been reproduced onto a newspaper background with coloured Inks and metallic glitter pens. 68).lke a m ni m o w board (see p. This SketChDOOII oaac 1 s . uslng your sketchbook for experimental work and to codect nsp ratlona~ materlai. snowing how the theme of bad weather was investlasted throuah a serles at maaarlne cut-outs anb refetencei to original artwork. The best way to begin creating a useful sketchbook Is to gather research material from a variety of sources. Here. . for example from magazine cut-outs fabric swarches found objects Internet research exhibition lnformatlon artistldesigner rekrences postcards historical references (text or visual) personal imcollections Brluw rlght Experiment wlth varlaus media In your sketchbook.l)s/owI@ Flnd a theme to explore and research it. This can include any or all nithe following: observational drawing painted visual studles colour studies photographs collage relevant imagery.

Heloru lsfr Preparing your sketchbook pages so that you can work on them at a later date reduces the fear factor of the blank whlte page. Keepingsketchbooks also gives you the uieasure of looking back through them to see how your skills have progressed. These pages (facing page and below) show how an artist has investigated the tileme of weather. in particular rain and thunderstorms. while the bigger ones can be used for larger-scale artwork. Buy a durable sketchbook with a hard back and strong binding. and the artist can refer to the sketchbook at any time fur inspiration. weather clothes splashing In a puddle. pastels and silver Ink are used to Illustrate a woman In wet. or paper for a specific ~ncdi~u such n as watercoiour or pastels. Thls research has not yet becn used for any form of Finished art. this page has been prepared using a watercolour wash to produce a rain affect. The paper used in most sketchbooks is a good-quality white cartridge paper. Ask yourself what artwork you might produce using the diverse and expirimental work from ~ h sketchbook c pages as your starting point.Sketchbooks are available in a variety of sizes. Here. Investing in sketchbooks that will last a iifetime is worth it-in years to come your visual studies tnight inspire you to produce new work. but the potential for future work is evident. . E@laturlght Practise drawing from magazines wlth a range of rnedla to improve your skills. Some are stnall enough to fit into your pocket for convenient location drawing. Keep In mind the themes you are explorlnq-for example. but you can also choose brown or black papel.

listing details of the garments and the models. Creating a photomontage of the outfits in thc collection. The pages also show how the designer planned each outfit for the catwalk show. Snapshots from behind the scenes of the fashion show complement the two-dimensional designs and finish the story the Items that make up the outfit.scenes snapshots from the fashion show display finished garments next to the initlal deslans In the sketchbook. Neloru ~ i g h l Behind. from a fashion-design student's sketchbook.dlmenslonal sketches to threedimensional garments. the designer has placed photographs next to the original drawings to compare the twodimensional and three-dimensional versions.This series of sketchbook pages shows how a designer has planned a collection to pragress from two. the designer links this to the other pages in the sketchbook with colour. The pages below. This Is for the model and dresser at the catwalk show. which Is an unusual arrangement. Qluru Lvntnt A photomontage of the collection shows photographs placed at the top and bottom of the page. Belo~u let? A planning page on which the designer has listed Make your sketchbooks working tools that you add to and update continually. interesting forthe viewer. . rne aes gner deeps to rne same coloLr pa ette. although its back view is shown on a mannequin In a photograph. Working on graph paper tnro~gnout. The deslgner links the Images cleverly with a broken line drawn around tha OUtfltS. but the orlolnalltv of thls dlrolav IS fare r. Most people use the centre of a page as a stertlna Point. map the stages from completing initlal research to garment design clearly.the. On the first page ( l b p left) tne design Is highlighted by a llnebrawlng ihat reveals the outfit's silhouette. As garments are finished. The figures are placed on the page to provide a unique layout. m p rig111 Marker pens are used to Illustrate thls garment.

HE FIGURE .

How many times have you heard phrases such as "I can't draw faces" or "I can't draw hands"? In fact. than about accuracy. Chalk on paper. Study of a Woman$ Hurirr~ c. The result is that. thatyou will find useful throughout your artistic careel: lb understand rhefiguiw beneath the clothes. you need to be aware of the body shapes that lie bcneeth the clothes. drawing the figure is more about developing your own style. At its most basic. p~actlsethe exercises described on the following pages regularly. good drawings of figures are not so much the most difficult to achieve as the easiest to judge.Central tofashion illustration undfashion deslgn Is rheflgure. the art of fashion illustration has developed. you may feel daunted by the apparent complexity of the subject. In fashion illustration. However. unless a drawing is remarkably accurate. If you are relatively new to figure drawing. . Clothing brings further challenge and diversity to drawing the figure and. say. DRAWING FROM LIFE The figure has occurred throughout art history as a central theme for expiorationdrawing the nude figure from life has been practised in art academies for centuries. and creating Indlvlduai studies that convey personality and meaning. sixteenth century. The Itellan Renaissance artists LeOnerdO da Vlncl and Michelangelo made many tigOrOUS studlss of the nude flqure In which they acutely observed anatomy before palntlnp clothed flQurer. and easy-lo-remember tips. It is a common belief that drawing the figure is the hardest artistic talent to develop. An understanding is vital for of the accurate proportions of the human body and how it is consCr~icred producing convinclngfashion illustrutions and gamenr deslgn~. 1490. this is not an excuse to draw a figure with. Study ofu Male Nude Srrebhlng Upwrds. from this. Right Michelangelo. it is deemed poor and the artist loses confidence. To create a fashion Illustration.Charcoal on paper. a disproportionately large head because you are Leo Leonard0 da Vlncl. We know the layout and proportions of our bodies so well that we notice inaccuracies instantly. a drawing is nothing more than a series of marks made on a surface by one person that another can understand. This chapter provldss essential infnrmation undadvice.

I lowcver. you can create more realistic figure drawings. his experimental approach enriching the artwork. In Rmmc nLie nllongde Picasso uses mixed media to create blocks of colour and paltern. Our drawings vary because we all see things differently. It is inspirational to look :~t the work of Michelangelo and Leonardo daVinc1 (facing page) whose observation of anatomy in pen and ink captures the reality and the beauty of the human body. By gaining an understanding of how joints move and which bones fit together. visit a natural-history museum or refer lo books to make studies of the skeleton. Laclk with fresh eyes to achieve an honest drawlng. The works selected here (this page) outline Important lessons for the art student. the flnlshed effect most likely unalanned. FB. Free yourself from what your mind already " ktiows" and draw only what your eyes see. what is the point of doing it?" Lefl Pablo Plcasso. He urcr haphazard blocks of patterned paper and colour to express his Ideas. we cannot help bul understand it better. A clear understanding of anatomy allowed Pablo Picasso to base a significant ilnlount of his work around the nude human form. and Picasso captures thcir mood with decisive pen-and-ink strokes. 25 E 1 = Y 1 a I s E 1 . and never rely on memory or what experience tells you is correct.n~izsn~re nllortgf!#. as Picasso demonstrates In this image. We may think we know the human figure until asked to describe It accurately. once saying: " I f you know exactly what you are going to do. In the twenty-first century.Ink and pencll on card. a sound knowledge of how the body is constructed can only increase your perception. consider the body shapes that lie beneath the clothes. The nudes are drawn on a coloured bc~ckground. By recording a figure on paper. Hl#tlt Pablo Plcasso. Paper college end oll on canvas. e 1902-03. THE NUDE FIGURE I'he nude human figure must serve as the basis for all figure study and fashion illustration. To broaden your knowledge of anatomy. Ruo Nudo Women demonstrates I'icasso's economic use of line. using only a limited palette. It is doubtful that Picasso knew what result he would achieve when he started this piece. Both women are lost in thought. When thinking about the figure you may use in a fashion illustration. Experimenting wlth mlxed medla without a flxed idea 01 the outcome Is a way of ach~evlng unpredictable and excltlnq results. An illustrator must understand accurate body proportions before it is possible to create a unique style. His technlaue Is bold end declslve. With economical line and a llmlteci colour palette. enhancing the purity of line and form. artists and illustrators no longer tend to study anatomy as part of their formal training.unable to assess proportions correctly. and the joints and muscles that operate to niove the bones. 1955. ' m N ~ t d Wanzen. Plcasso captures the main lines and forms of two recllninq nudes In this uncomplicated image. It is impossible to draw the clothed figure without knowledge of the structure and form of the body underneath. Through drawing we learn to see.

.u$trator.ll .:u~inq p.nrlqble mediasush FspPn ?.10 whenever you hr*.nd $$ah.$tie. ttie trap stutlgnis ub qhllrlit pl+e to Mii.athl:app.wat~rcolour. to Increase your unaerrtantnng of qwrnmt construction end the way clothe8 sit on tne body.w!men readlhq: w h i Iwnina' ~~ on her bm& bnd a m n Inthe Practise by maaing wick Illetcher of clothing 01181. Keep a srnalt $hrtChbOOk In your naq and draw from 1. pr ~cncllthd.Opwrvlng the numan fip~re Is vltal for tho fasnlon Il.ortunlty. lh Lkese ~k$tCnPs Wi.

. but It helps to be aware of the construction of clothing. including more or loss of the setting around the figure. . a leg in relation to another part of the bodv . To enhance their skills. customers shopping. a couple dining in a cd6. pleats end darts affcct the fit of garments on the figure. you will also gain ideas for backgrounds and settings ror your fashion iliustrations. just as it does to understand the structure of the body. Hold the viewfinder in front of one eyc to frame the figure.You do not need to know how lo sew to illustrate. By holdlnp a pencil at arm's length and focuslnq on your subject. and to draw figures to scale in their environments. ~ -. you can measure the f~pure In front of you.- A viewfinder Is a slmple-to-make device that helps YOU to select how much of a figure's surroundlnqr you want to Include within the confines of your picture. then transfer this angle to your drawing. Close one eye. Close one eye. employees in a meeting. and how much thelr appearance is dictated by the scene in which they are set. say. By holding a pencil at arm's length and focusing on your subject you can measure the figure in front of you. Consider how figures fit into their surroundings. the most difficult skill to master is that of correct body proportions. . A viewfinder helps you to disregard the figure's wider surroundings and draw only what is inside the window. Focuslng on scale. ' ' . asis a knowledge ofhow seams. voucenrelect th@vlsw that work6 best. many artists use a pencil to measure the figure and a viewfinder to frame a model and give proportionate width to height. You can also hol your pencil at the same angle as the figure's arm. An important aspect of drawing the figure is awareness of Its scale in relation to its setting.THE CLOTHED FIGURE AII understanding of how fabric drapes around the body is vital ror drawing the clothed figure convincingly. MEASURING THE FIGURE AND USING A VIEWFINDER When drawing the nude or clothed figure from life. teenagers playingfootbali. gathers. a person curled up in an armchair or asleep on a sofa. It allows you to try out difkrent framing options For your picture. Make detailed studies of sections of clothed figures to build your awareness of the ways in which clothes fit and drape on the body before you begin to illustrate. . This type of sketching increases your ability to create H sense of perspective. composition and clothing. practise drawing figures in various locations: chlldren playing on a beach. friends watching television. By movlng thevlewflnder. : L . This method allows you to assess approximately relative angles of parts o l t l ~ body e that would otherwise be difficult to draw correctly Aviewfinder is a piece of card withe window cur into it of the same proportions tls your drawing paper. By sketchingon location. then use the pencil point and your thumb as markers to measurn each part of the figure in relation to another. and use the pencll point and your thumb as markers to measure. passengers on a bus or old ladics chatting on a park bench.

Experiment with varied medla when drawlnq from ilfe.Life orawinq on a Iarqe scale can be o0. To practise drawing the clothed figure. and demands your full concentradon. so you will find It easier than antidpatid to dismiss other thoughts. Where will you sit? What materials should you use? Will you feel embai~assedl Where do you start? Many artists advise that in life-drawing classes the best way proceed is to view the nude . figure as a series of lines and shapes and forget that there is a person in Ront of you. . Most people stay fairly still for about 15 minutes when relaxing. or attending an event where there are lots of people to draw.Jacques Fath and Dior. Working with pencil. Public transport also offers an excellent opportunity for capturing interesting poses. aelalV cm11tfil)dr. The sketchbook page opposite shows how Francis Marshall.d ana dramatic. has always found time to practise figure drawing. make the most of opportunities such as family or friends warching television. While charcoal is a popular choice for many artists because It encourages bold. expressive Ilnes. the art at concentrates on several poses n order to OJ . his artist br~nas drama and atmosphere to the worm by using Intense coloar. Drawing the nude figun is the ultimate test in observation and understanding. Oil pastais are richly coioured and have a dense. to . ana strong lines. Relaw r@t Herr. a single p a w has been used for a series of aulck studies. this study has been created with oil pastels on brown paper. Many local art centres or art schools offer life-drawing classes. LIFE DRAWING The best way to represent figures confidently is to draw from life as often as you can. Always carry a small sketchbook when travelling on a train or bus. waxy texture that can b@exploited to provide additional Interest In sflgure drawing. snapes and patterns Lslng cnarcoal ana pencils. Attcnding your first life-drawing session can be a frightening prospect. although famous for couture-show sketches of Balenciaga.o an untierstsnaina of tne f l a ~ r e anti the way it mQves.

detailed pencil drawings of facial features and clothlna sccessorles. instead the artlst has focused on understandinq particular parts of the body. In charcoal and pencll.To improve hls talent for capturing catwalk styles. HISsketchbook paqes show womm walking. Francis Marshall draws frequently from observation. demonstrate how draw~nq from life can help you to gain valuable knowledge of the figure beneath the clothes. These studles. Perfect finished artwork is not attempted. .

Thc aim is to show the figure (or object) truthfully. try some simple exercises using intuitive observatlon. and believing in what you see.'The result is that you !nay draw the Figure as you belicue it to be. . BC~OIB embarking on more elaborate studies of the figure. Try not to use your critical judgement. your brain interprets for you what you should see. and you will produce a truthful drawing. When you look at a figure.direct observation. exerclse The "don't-look-back" Focus all your attention on the figure in front of you and draw exactly what you see. exactly as it appears. Trust your eyes. Concentrate on the contours of the figure and thc shapes contained within. The result is not supposed The to be a perfect artwork. rather than how it uotually looks. nieaning an image that is created to rcpresent what is seen during .OBSERVATIONAL DRAWING AND INTUITIVE EXERCISES Drawing from life is also known as "objective" or"ohscrvational" drawing. but a valuable lesson in concentration and confident expression. By checking your drawing constantly. Do not examine the drawing once you have started-just look at the figure and recreate its shapes on paper. The aim is to draw without iooking at your page. Drawing In this way is about believing and trusting your visual judge~nent as you record what you see. "don't-look-back" exercise encourages you to focusyour thoughts entireiy on the figure you are drawlno. This type of drawing is about forgetting what you think you know. it is tempting to correct what you think are mistakes. The purpose of these exercises is to train your mind L o accept what your eyes-rather than your preconceptions or your mind's interpretations-deem to be true.

Ossie Clafk shows off his designs with strong outlines. opposite. A small amount of coiour has been added digitally at the end of the process to flnlsh the Illustration. Instead. with lots of small lines. h e l ~ w rl#/at The continuousline exercise involves creating a figure drawlng wlth one. They are extremely free images only refined by a hint ofcolour added digitally. 7% Above le~7 A master of the outline technique. Thls one has been scanned and colour blocked In dlqltallv to emphasize the hands. flowing line. As you look at your subject. Learn to pay close :ittention to "negative spacesn-the areas of background enclosed by parts of the figure. . Matlrse captures thls flgure (1949)wlth only a few simple lines so that the vlewer comprehends It entir~ly. The purpose of this exercise is to record all information with one single. make a continuous linc drawing of the figure. Avoid the temptation to create accurate details. provides Just enough detall to appreciate the deslgn of the clothes. flowlnq Ilne. the figure should emerge with some accuracy into the foreground of your illustration. pencil or pen.If you concentrate on drawing these shapes. 1970. 'The space around the figure is vital to the outline. Look at the back view uf the figure drawn by Matisse (above left). flattening lhe figure in your mind's eye so that you focus on its outline. It Is made uo from menv interconnectlna Ilnes. by Brltlsh designer Ostle Clark. bclolv laft Line drawing has bepn a major Influence In this fashion IllustratlDn even thouph there 1 s no obvlous outline to the figure. Opposite. Ukawise. keep your hand moving constantly so that the line mmains unbroken. You can complete this exercise using any medium-charcoal.The lines are simply the outline of the shape he sees. The outlineexercise A useful skill to acquire when learning to draw the flgure from life is to look past [he detail to concentrate on the shape as a whole. from a sketchbook of c. such as those of the face.cnntlnuaus-lineexerdw Working from observation. The illustrations opposite (belowleft and rlghtl havc been created using continuous Hnes. Abow rltht Thlr Ilne drawing. Simplify what you see. It is a good idea to experiment with free-hand drawing and the computer to create unique effects.

i t is still valid to use a two-dlmenslonal tmaqe as the bask for your figure. Most people need a source of inspiration to begin a drawing. TEMPLATES TRACING FROM A PHOTOGRAPH Tracing is not always cheating. from a photograph or magazine can form the foundation of a fashion Illustration. Moreover. or figures. You are already working with a two-dimensional image.Higkl Copylng a figure. Trace the outline rn~! ~~gitt Trace the main lines of each figure by placing your paper over the photograph on a llght box. which is easier than working directly from a three-dimensional figure. if you do not have access to a life model at the appropriate time. Although Ilfe drawinq is necessary to understand the human body. Bebw lnsplred by the photograph. . Even an ordlnary photograph of a Couple on a motorbike wearing full leathers can be used as a starting point. drawing a figure accurately from memory is not a common skill. Sometimes maklng a simple copy of a figure from a photograph is the most helpful way to start a fashion illustration. this is the final fashion illustration.

ensuring the proportions of different parts of the body are correct in relation to one another. You may adapt the pose to your own requirements. such as button plackets. then apply your own illustrative style as you develop the artwork. but they can also be adapted [or the computer. Fabric was scanned then copled onto the garments. Uniess you are adding accessories. When the clothes are sketched in. Likewise. place layout paper over it and trace the image.figure template can be used tradltlonally on paper. the template is removed and the artwork completed. uslng the temolate as a guide. Templates for design are usually realistic and body proportions are not exaggerated. A figure template is a tool used by fashion designers to help them speed up the design process. Think about the stance of the templates. Often. Now simplify the drawing to create a clear outline. It is placed under semi-transparent layout paper upon which the designer draws the garments. Study models in magazines and try to recreate similar poses and gestures in your templates. 'I AOove. moving the template along the. Suggest the face and hairstyle but do not draw every hair and eyelash. can be positioned correctly If a template is too large. Scan a template and use it as a foundation for your artwork. an expensive eveningwear . your tracings can be used as the basis for a fashion-figure template. When creating your templates. lop la8 CREATING A TEMPLATE Select one of your own figure drawings or a suitable magazine photograph. you could reduce their size to repeat a series of poses across a page. Collect a number of templates with varied looks and character. pockets and seams. Templates are used as an aid to freehand design. creates a marker against which design details.page to repeat the urocess. . Depending too heavily on templates can inhibit a fashion designer's creativity. those who view your work will recognize the pose. adding to it with a program that allows you to make decisions on colour and pattern. or against a window so that you can see the most important features of the figure clearly Decide on the main lines that define the figure's shape. It is far better to create your own figure using the techniques suggested below. or scanned for use on the computer. HOW TO USE A TEMPLATE rf you select photographs from a magazine that give a clear indication of body shapes and proportibns. top right a : : 1 The template has been scanned and clothlnq added using the computer. front and back.the designer creates a range o f templates. When you l ~ w aselection e of templates. it can be scaled down by hand or by using a photocopier or scanner. The easiest method is to dcvelop your first template. or Hght tracer. A simple front and back view nra front-facing figure will enable you to design quickly and precisely. Abotm. a common mistake being to design only clothes that fit the templates. then trace them carefully. Abow C Y b full collection linsup. back and sldes. A Or~~rlmf Temalates are created bv reduclna the bodv toailear. This female. but vary your i'mplates so your work does not become predictable.of a Rgure from a photograph or magazine to give yourself a starting point. repositioning the legs and arms to create a variety of poses.collection will not look right templates developed from street figures are used as a starting point. 1 I . Use a sharp pencil avoid lines becoming fuzzy and confusing. consider the market for your illustrations or tlesixns. which uses the same template and Illustration process for each flgurr. Copying a template from a fashion-illustration book as your starting point for an artwork is not recommended. They enible the designer to work faster. simple outline. To show garments from front.For example. The template is used as a guide only. Place the photograph on a light box.Theconstantuse of a template to initiate an illustration tends to lead tn stilted results. Drawing a line down the centre of the lcmplate. the hands and feet also need only be implied. if . The way a figure is standing can orten reflect the mood of a collection. too. the Illustrator must bear in mind that the template Is a useful tool but not a means of creating a unique piece ot c~rtwork.

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For simplicity.while a decade later a thin figure and poker-straight hair was most admired.BODY PROPORTIONS: THEORY AND PRACTICE THE HUMAN FORM When drawing the fashion figure. HEAD NECK AND SHOULDERS UPPER ARM UPPER TORSO LOWER TORSO LOWER ARM 1 - -7 I HAND THIGH KNEE FOOT . Fashions change from culture ta culture. and from decade to decade. the artist must keep In mind the essential components outlined in the following diagrams. a curvaceous figure and short. The fashion illustrator often aims L o express the features that aociefl currently perceives as beautiful. and may choose to highlight these features through exaggerated illustration. Clothing the body I8 a means of self. The easiest way to begin your study ofthe human body is to see it a8 a ~eries of shapes. which assists In seeing the body as a series of shapes. For example. So. wavy hair was deslrablc in the 19508. while body shapes and proportions may vary fram person to person and the fashionable ideal may change. so the impression created by a fashion iilus~ratian must be based on careful observations. imagine thar It Is made up of 11 basic parts (see below): The human figure can be divided into 1 1 basic parts. it is important to know the standard proportions of thc human form. as wcil as bearing in mind that people vary greatly In shspc and size.expression and an opportunity far creativity.

This exercise is an Important preparation for fashion illustration.Then. focus on remembering their proportionate sizes.These basic parts can be manipulated to creare different poses. Practise this by adjusting the pans of a wooden mannequin and drawing it at different angles (below). . once you understand how all the body parts fit rogether. Practise drawing poses from a mannequin. as it will ailow you to experiment with poses before you begin to concentrate on the details of the clothing. observing how the 11 body parts move in relation to each other.Your objective is to notice the way the 11 body shapevmove in relation to each other.

toned arms. They used the length of the head as a unit of measure. The following diagram demonstrates useful facts for the illustrator to keep in mind when drawing the figure. whereas men's are broad and fa~rly straight. This simple way of lneasuring is still used today. TRADITIONAL MEASURING METHODS The Ancient Gmeks invented an ingenious method of measuring the height of the human body. who have wider necks. then counted the number of times It fitted into the body's total height. and for the male to have broad shouldem and muscular. l l y it yourself by using a tape measure to find out how many times your head length fits approxiinately into your body height.These diagrams show how the height 01 the body can be dlvided Into eight equal parts. Women's shoulders are narrower and slope downivards. each equivalent to the height of the head This fairly system.The most common exaggerations in fashion illustration a n for the female figure to be drawn with longer legs and a smaller waist. which was the standard for perfect proportions. During Classical Greekand Renaissance times. the ideal number was eight. Is stlll used by artists today. invented by the Ancient Greeks. . from crown to toe. \%men have proportionately wider hips than men. DIFFERENCES BETWEEN MEN AND WOMEN Men's and women's body proportions differ greatly and men are generally taller.

The pup11 1 s aiways portly covered by the upper eyelid The eyes are usually In the centre o f the face The ears and eyer are in llnc with each other between the eyebrows and the nose The upper tip often appears In shade as d curves in towards the teeth Hands are often threrauarters o f the head size (that Is. caDable of covrrlna the face) Lejt A few useful bodvproportlon factsthat a fashion IlIUStratOr should aiways keep In mind are shown In thls dlaqram. not Including the toes.ipproximately onequarter of the whole foot Although accuracy Is Important when understanding the human form. the neck and hairstyle have been exaggerated to create an appropriate character for the fashion collection. rillher than half. 'ltr keep proportions relatively sensible. fashion illustration sometimes exaggerates particular features. a fashion illustration is not always an accurate representation of reality. EXAGGERATION FOR FASHION Allhough it is important to gain a thorough understanding of how the body is cnnstructed. lllustration is not only about elegance and beauty. Iixaggcratingsome aspect of the Figure can add interest and character to the work. given that exaggeration has dominated fashion illustration decade after decade. fashion illustrators usually emphasize the length of the legs. but creating a character that colnplements the clothes. or from a magazine. calculate the legs as making up two thirds. it may be worth exploring the very technique that ilit~ served illustratoxs for decades. Use a figure hum one of your life drawings. Here. . use the traditional measuring techniquo but Increase the amount of heads used in the body length. The step-by-step exercise on the following page [caches you how to exaggerate leg length and fit the tall figure on a page. of the total height. To elongate a fashion figure. I:nshion designers and illustrators often elongate the figure to give it more elegance i~nd grace. The eyes are set approximately one eye-width apart The hip tlltS down on the leg that ir not carrying the body weight In adults. the fingertips reach halfway down the thigh The sole o f the foot. Woweve:. is equal to the size o f the head Belo~u Tlie big toe is . For example. for the exercise rather than utlcmpting to draw from imagination. the legs form at least half the total helaht When arms are relaxed. leg elongation is not as common as it used to be in fashion illustration. (:ontemporary illustrators ale not afraid to portray reality and challenge fantasy. which is employing a greater variety of figure shapes and body proportions. When stylizing a drawing by increasing Ilic height of the figure. Today. a figure could ihc stretched to ten or more heads in height.

Bv arawlna slm~le auldellne$. and feet.t Is a common rnlslawe to run out of apace for tha bet.thlrU$ line 1 0 allOw YOU to elon~ate the leas d the Haun 2 Sketch In outlines for tne clothec and any orcorn~va details m d drdde whlch c o ~ o ~ r s to J S ~ . Sketch In the waist llancc st tha two. vou maw ruie that tno *nok fioure iits on the paw. VO. and mark a n n t r r l line oo*n the lenqtn of the flogre.J can r r r w tne acloellne when qobr . urlna appropri@te madla for the clothes ana other Imwrtant features. 3 Complrte the fashion il. .bstration.1 DIvIda the age Into three eaual section$.

(:ollecl irnages from n range ofmagazincs.... HANDS AND FEET the face in an illustration because you are scared of ruinillg ~lic image by drawing It in7 Do you tuck hands into pockets so that you need not illustrate them? Perhaps you draw the figure off the page lo avoid tackling the I'uct? It is true that one small line in the wrong place can spoil an otherwise perfect k~shion Illustration. F $ *.UPS and full figures have been placed in a lineup that illustrates the collection from all angles.. rather than always to represent them correctly... . Build a collcction of' poses from lnagazines that you can refer to for your work.) .. 110 you leave out '(I ... too. ! r... a figure with head tilted and hands behind the back may be thought cclp or demure. Think carefully about the type of fashion you are promoting. your illustrations will gal11 in diversity and sophistication... at your own life drawings and photographs For inspiration. . : .. :::j: *. On the following ii:lges are tips on combining an accurate rendering with an imaginative :~i~proach to create an illustration that you are happy with. or example. but it nccd not bc. Front and back views. They are arranged in a montage that f poses.99 DECIDING ON A POSE HOT SPOTS-FACE. By practising until you can approach these elements with conviction. photography and sliorts magazines--you may bc rcquired to draw action poses for a sportswear rxnge.. The way a person stands expresses much about thcir mood or emotions.lbbest promote the garments in a fashion illustration. .. For cxampie. including fashion. . Look back. . contains a range o CIOSI.. but the best illustratnrs avnid the te~nptation to hide these riitticult fcatures. or are you illustrating for a high-street clothing colnpany or designer with a particular client base?This will help you to decide on the most appropriate pose ror your figure.. consider the stance of your figure.-y *-. l~ldlcating these hot spots aulhcntically can hc a daunting prospect for the ~invicc. % . It is increasingly acceptable to suggest features il~iaginativeiy.. Th~s fashion illustration combines realistic faces and figures with digltal manipulation to show the garments to best advantaqe.. while a Agurc with hands on hips and feet apart may be seen as slrong or bold.. is It your own coilection.< .. The figures have been drawn in pencll and the ciothlng added by computer.

6 Finally. Draw In the eyebr. In fashion lllustratlon it is usually best to attempt to draw the overall shape the hair creates.Advlce for d r a w l n g t h e h e a d a n d face A ball. rather than each lndlvidual hair.ows. egg or square shape can be used to construct the head The head divides into three masses: t h e cranlum. b u t must harmonize with the rest of the body rather than standinq o u t from It When drawing profiles. 4 The base of the nose should fit on the next horizontal ilne. a larger mouth and squarer jaw t h e female The face provides line than 1 First. Leave a soace of one eve width in between the eves. t h e facial bones and the jaw Draw In guidelines to define the position o f t h e eyes. Then divide the bottom half in half again In a horlrontal dlrectlon. . outllne the head. This wlll probably be close to an oval or egg In shape. These guideiines can be erased later. draw in the hair. Draw in the ears: their size Is Usually the distance between the eyebrow and thebottom of the nose. a focal polnt for an Illustration. symmetry does n o t need t o b e considered A badly drawn face can ruin an otherwise good lllustratlon 3 Map out the eyes on the top horizontal line. The top lip usually sits above the iine and the bottom lip below. 2 Divide the head In half vertically and horizontally. nose and mouth The qu~delines can be positloned to represent the planes of t h e face looking in different directions A male figure has thicker eyebrows. 5 Divide the bottom half of the face again and use the lowest horizontal iine as a guide for the mouth.

don't draw them In Features are usually smaller than you expect. eyes are set one eye-width apart The Iris of the eye 1s always partly covered by the upper eyelid.features Suggest the features and. top and the base. a hand can cover the face easily Ears and eyes are in line with each other between the eyebrows and the nose Eyes are at the halfway point of the head length-it is a common mistake to draw them higher up Most commonly in the centre of the face. If In doubt.Advice for drawlnn . SO do not draw them In a stralqht line Rather than draw each lndlvldual tooth. although the bottom lashes are shorter The upper 11poften appears In shade as it curves In towards the teeth The bottom lip is usually fuller than the top one Lips stretch horizontally around the curving face. creatlng a shadow on the eyeball Eyelashes on both llds become propresslvely thicker toward the outer corners of the eyes. For example. the nose has a ball at the bottom and wings on either side where the nostrils flare I - " . suggest teeth by drawing a shadow between them The nose starts at the forehead and has an Indentation where the bone ends and the cartilage begins Made up of planes that form the sldes.

plaited. bobbed. rather than be treated as a single mass * Halr can be styled In all sorts of ways: tied back.Advice for drawing hair Lines for the hair should flow away from the scalp and continue in the directions set by the chosen style Try not to make the hair too uniform or like a hat Rather than attempting to draw every individual hair. frlnqed. more flowing lines than the shorter strokes of a male's hair Halr should vary in tone. and so on . . having highlights and definition. wavy. wild. spiky. emphasizing the roundness of the forehead A female's halr is drawn with longer. curly. neat. straight. long. short. outline large tufts The female hairline is usually higher than the male. trendy. cropped.

the back of the hand convex * Simplify the drawing of hands in a fashlon ~llustration-you do not need to indicate every knuckle and fingernail r .Advlce for drawing hands The surface of the hands reveals the skeleton beneath * It is a common mistake to draw the hands too small The hand should cover the face when outstretched-its length is about equal t o the face from halrllne to the base of the chin The palm is concave.

the longer the foot appears The higher the shoe.Advice for drawing feet and shoes The body's wetght rests mainly on the heel and the outside edqe of the foot * Not including the toes. ensure that the heel and sole are on the same plane or surface The fashion foot is usually drawn long and slender-the higher the heel. the sole of the foot is equal to the length of the head The big toe Is approximately one quarter of the whole foot Shoes and boots must be In proportion to the rest of the body-a figure with tiny feet looks as though it might fall over When drawlng footwear with a heel. the greater the angle in the arch of the foot - .

'd RTISTIC ECHNIQUES .

sharp. Secure the edges with brown gum tape. Finding a medlum that suits your own particular method of working and your style is the best way to procced. you may enjoy the freedom of oil pastels. seml-opaque paper that allows you to see an image faintly beneath it. Consider your personality when selecting your artistic tools. available in various colours and thicknesses. and the artist can exploit this effect in the illustration. you will be keen to experiment with diffemtarr materials. ?Yaclngpaperand acetateare clear sheets that are also excellent For use on presentation boards. If you have a more energetic. It can be made suitable for painting by soaking it with a wet sponge and stretching it over a drawing board. Layo~rr paper is a Ane. usinga sketchbook. The translucency of layout paper enables you to trace over it to produce one rough from another. PAPER Paper is the first element to consider when beginning a fashion illustration. This paper is often tinted in tonal ranges upon which black-charcoal illustrntions look particularly effective. . colourful pencils and acrylic tubes just waiting L o be squeezed may look inviting but. then overlay the images-the transparency of the sheets means that the image beneath is not . and is suitable for drawing and dry artwork. everything looks tempting and the correct choice of medium is difficult to make. the chapter divides into scctions lhat you can dip in and out 01easiiy toflnd the information you need.findthese aspects qfillustmtion challenging. fast-andfurious approach to illustration. they also hold an element of anxiety. then allow the paper to dry thoroughly before beginning your painting.of materials and eauiwment . All can be used as a surface on which to work or a8 a material From which to create a collage. charcoal or paints. Soft art materials such as pastel and charcoal pick up the grain. ART MATERIALS AND EQUIPMENT The range available to illustrators and artists todav . researching bhemes. pastel paper has a grain running through it. as it is made ofwood pulp. You should feel comfortable enough with it to produce work confidently.Once you have slartedpnding inspimtion. commonly used papers. marker drawlngs and colour tests. Brand-new pots of ink. The quirky figures In this Illustration were created using mixed media. To the creative eye. the background colour adding increased intensity. You can photocopy images onto them.outc In a collage. so that you can make your selection with confidence. Searching for appropriate materials in an art suppliers can feel like being surrounded by irresistible confectionery in a sweetshop. is vast and can be a little overwhelming at times. cornbininp hand drawing with photocopied paper cut. Suitable For roughs. so that moisture causes it to buckle. I F you are a careful. Even professional artists can. There are many types to choose from. Cartridge paper Is one of the most basic. In this chapter you willpnd out which art materials to use to achieve particular erects. how to conveyfabric realisticallyand how to select a colour palette. it is often bleedresistant so that colours do not run. It is also suitable for mounting onto background papers and cards for fashion-presentation purposes. Experimentingfrequently with new materials will encourage you to be more innovative in your work. to a beginner. Unlike smooth cartridge paper. To piwide a useful reference source. It is not generally recommended For paintlng or heavily rendered work. and practisingfigure drawing. meticulous perfectionist you may be most at ease with precise art materials such as a pencil or pen. The next section covers how to use art materials and equipment in fashion illustration.

F.5B. Good-quality watcrcolour paper is a must. .Pencil leads are graphite and they are made in several grades ranging from hard (HIto soft (B-the "R" stands for black). Using such a kechnlque means that your deslgns change every time you overlay the cutout In a different posltlon. Hard pencils best suit artists with a confident. Warercolourpapers are supplied in many weights and textures. Soft pencils are ideal for rapid sketches and expressive line-and-tone drawings. clean and accurate style of drawing. The advantage of a mechanical pencil is that it is always sharp. obscured completely. watercolour paper can be used with many wet medla. PENCILS I:. Rlgh! Coloured. Lead pencils are available either in the form of traditional wood-cased pencils or in a mechanical pop-up style. such as ink. especially watercolours. Tho pencil is a convenient and expressive means of evolving a compnsition and of recordingvlsual information quickly for translation illlo another medium later on. pnle-grey lines and the softest produce thicker. Use your imagination as to how to incorporate them into your work. thin paper makes colours look flat and lireless. 2H. with light shining through the image.HB.W. Most works of art begin with a pencil drawing. Drawing and painting directly on acetate creates a unique effect.very artist-even painters.6B. OH.2B.9B. sweet rurappers and other packagingcan all be used in fashion Illustrations. transparent papers have been cut lntrlcatcly and overlaid to create the outflts In tnls Illustration. wallpapel.9.You can also select a variety of lead thicknesses for this type of pencil ranging from 0. because they smudge easily. They work especially well on textured paper.U l r A selection of papers.3 to 0. lly experimenting with several grades of pencil to create a rich iliteraction of line and tonal contrasts in your fashion illu~tI?3kionS. Tissue papec card. wrappingpaper.You can change the marks they make by using the point. OR. while others have unusual textures. 7B. Many illusaakors add texture and detail to finished palntlngs. B. black lines. 3H. SB. With its ability to absorb liquid. sculptors and printmakers-benefit from being skilled at drawing with a pencil. The grades are usually designated as follows: QH.H B and F (whlch stands for fine point) are midway between hard and soft. paints or watersoluble crayons.6H.48. 7N. Soma are printed. They glide across the page to produce the boldest and most expressive drawings. Graphftestlcksare made of compressed and bonded graphite. as cheap. coloumd backingpapers.5H. using pencil. side or the flattened edge of the stick. The hardest make h e . but take care when uaing them.

The watersoluble versions produce beautiful. making them more ofa painterb tool. watetsoluble pencils ate useful for bridging the gap between drawing and painting when developing illustration skills. h controllable medium. This means that you can apply the colour dry. Graphite sticks are especially popular for life drawing and clothed-figure drawing because they allow a fluid techniaue. but create a subtle watercolour effect by loosening the pigment with brushstrokes of water. while controlling the finished effect. The advantage of both watersoluble pencils and crayons is that they are easy to carry with you. Coloulrd pencils are made from a mixture of pigment. The fashion illustrator can use them to make a varied range of marks. clay and filler bound together and soaked in wax before being encased in wood.tefr A selection of pencils. As with all pcncil drawing.pastel colouring Is ideal. because they allow you to build confidence with a controllable medium. They create bolder marks and denser hatching.You can use them like a graphilc pencil to shade areas. but are softer and more malleable. allowing you to sketch figures quickly on the street or catwalk. Coloured pencils are particularly useful in the early stages of developing your abilities. only in colour. You can also blend shades together carefully with a paper stump (a tightly rolled. Coloured pencils a n not just a safe drawing medium for children. Wutcraolubk crayons work in the same way as the pencils. WATERSOLUBLE ART MATERIALS Watersolublepe~acilsoffer the advantages olcoloured pencils. ranging from cnunky graphltes to coloured penclls. . eraser or your Rngers. if you so wish. You can develop a pictwe further with paint when you return to your home or studio. but they have a watersoluble ingredient in the lead. silvery grey washes. a comblnatlon of lead pencll drawing with soft. tonal areas can be built up with hatching (short parallel lines drawn closely together) or crosshatching (a fine mesh of criss-crossing lines that builds depth of shade). To create the effect of smudged make-up. tipped paper).

pastels are made from finely ground pigments mixed with chalk and bound together with gum to form a hard stick. Softpastels are creamy and popular for their vibrant coiours. then overpainting with watercolour is an effective means of creating a textured finish on clothing in a fashion illustradon. . they leave a paste-like residue on the surface that adds a unique texture to a fashion illustration. charcoal usually comes in the form of sticks of various thicknesses about 10-15cm long. Applied thickly. as they do not break and crumble as easily as the crayons. PASTELS Considered both a drawing and a painting medium. movement and texture to your fashion illustration. they can be used to create wonderfully evocative illustrations. depth. They are available in a wide range of colourt because. than sticks. delicate surface of the picture is the disadvantage of using pastels. Hard pastels are easier to handle as their consistency makes them less fragile. this soft medium is ideally suited to blending and smudging. which ai'e slightly easier to handle. remove cxcess dust with a tissue end correct the edges of your work with an eraser. the dusty. An opaque medium. Charcoal sticks are most commonly used for life drawing. The pencils \lave a harder texture and the tips can be sharpened for more precise line work. It 1 s also possible to buy charcoal u selection of pastels. Pmml pencils provide cr greater degree of control. pastels work best on coloured backgrounds that unify the arrwork. and creating strong dramatic line. A charcoal drawing is full of atmosphere and life. which will appear in a rainbow of coiours. or on textured surfaces such as a heavy watercolour paper. 'hy also the time-honoured rcchnique of colouring a sheet of paper with wax crayons. It is excellent for adding shadows. For an illustrator. i ' rn rn I Nw w A Charcoal stlcks arc available in a variety of in pencil form. but it produces some interesting effects. Drawing with charcoal encourages a freedom of creative expression that you do not get with a pencil. too. and therefore ideal for fashlon illustration. I Watersgluble coloured pencils and a mlxture of wax crayons. . Rich in cnlour. Drawing with a waxcrayon. They are good for outlining and crisp. Scratching through a layer of oil pastel is an effective means of creating patterns to represent fabrics. When you complete the illustration. tends to snap easily and can be messy to work with. thicknesses. However. pastels cannot be mixed to make new coiours. but could just as easily lend themselves to drawing monotone fashion illustrations. although they can be blended. and can be wed in combination with other types of media. It is fragile. and cleaner to work with. detailed work. then scratching out your figure.. The wash of colour is repelled by the wax but soaks into the unwaxed paper to leave a unique pattern. shading over the top with a black crayon. creating a waterproof resist when applied to paper. There are also charcoal pencils made from compressed charcoal encased in wood.WAX CRAYONS Experimenting with the wax-resist technique might seem like revisiting your childhood. Apply Bxative cautiously-if your application is too heavy it will change the coloura of the illustration. CHARCOAL Made from twigs charred at high temperatures in airtight kilns. ON pastels are waxy.

but it is sometimes difficult to decide which type will most suit the style of your work. sizes and a bamboo stick. Painted lines will be fuzzy rather than sharp as the ink spreads. and the ink diluted with water to provlde different monochromatic shades. You can enjoy experimenting with nonwaterproof inks by dropping them onto paper soaked in water.Left Black indlan Ink has been used here on watercolour paper. Applying watercolour to your illustrations is not aa easy as it looks. Usinq ink. Tbbes are available in many sizes and are recommended because you can mix stronger colours in larger quantities. Using the correct watercolour paper and quality brushes is important. Non-waterproofInksinks into the paper and dries with a matt finish. Overworking can lead to mistakes that are difficult to correct. the more diverse the effects you can crcaie for your illustrations.You can exploit its natural properties by allowing 52 M = e = E tl C C - u B = . Watercolour paint is sold in tubes or pans. Walarcolouris often the most popular choice as it is so convenient. the box lid usually acting as a palette for mixing colours. I n h are available in a wide range of colours. so the more you experiment.aoJ: Black waterproof Indian ink is the first choice of most illustrators as washes can be applied over a shiny line drawing. brush. paper and water to get started. the first aspect to consider is whether or not it is wlerp. however. We see here a selectlon of dlp pens wlth different nib. you can vary your drawing tool for a range of interesting effects. A monochrome illustration is then created using a dip pen. Inks are available In a wide range of colours and can be waterproof. Qualities of the different paints available are described below to help you make a selection. By varying your drawing cool. Pans are small slabs of solid paint that fit into easy-to-carry boxes. Watercolour is the perfect medium for adding subtle colour to pencil fashion illustrations. It is also excellent for applying washes to pen-and-ink drawings and for adding coloured details to sketches. but you must also know when an illustration is finished. Thc inkdisperses in the water. INK When drawing with ink. brush or bamboo stick. not just black.You only need a paint box. you can achicvc a range of wonderful effects. 1tig11t ink can be applied in a variety of ways. PAINT Many illustrators favour a particular paint. Diluting it produces a wide range of Ughter tones. creating beaucifui patterns and textures on tho paper surface. while being so portable makes it ideal for location work.

You can buy fairly cheap cans of spray palnt for afllslic use In a wide range of colours. Try painting fashion figures onto fabdc in acrylics. It is excellent for laying flat. . Y Opposite. The buttery consistency of the paint arises from a high concentratlon of pigment mixed wlth the finestquality oil. using a brush or knife--the latter creating a dense texture. The bright translucency of watercolour paint is perfect for conveying the patterned fabrlc. moulding the textures you want in your fashion illustration and even creating a threedimensional effect by applying the paint with a knife.thin wash to run and drip over your fashion figure. a palette of watercolours and tans of spray palnt. or diluted. solid colour as it dries without streaks. Here are tubes of 011end gouache. apply the coloun boldly in undiluted form. anu 1s popular br illustration because its strong. Acrylics are incredibly versatile as they can be applied straight from the tube. with detail edded using the flnellner. printed dress. Gouache is a type of watercolour that has been mixed with white to make it opaque. oll sticks give you the same control as with pastels and charcoal but also the rich. Imagine your illustrations as poster art. It is excellent for stencilling and adding finishing touches to your rashion iilustratlons. usc a sewing machine to add decorative stitching. acrylics dry with a tough. Alternatively. 'To use the paint creatively. The face Is unimportant in thls farhion lllustratlon so has been left out to piece emuhasis on thc dress.I Y 1 i * Above Traditional painting skills arecomblned with accurate observation to render this flaure in acrylics on canvas. oil paint is not as diMcult to handle as vou mav think. adding a sense of movement to the illustration. Spray paint gives unexpected results. . blow Watercolour and fineliner are used on a coloured paper to create thls vivid. and is therefore the medium to have Tun with. making them powerful and eye-catching. plastic waterproof skin. You can buv water-mixable oil naint that can -~ be thinned wth water rarher than turpentine. The advantage of oil paint is that you can model it on the canvas. matt colours are suited to reproduction. Lefr Paints are avallable In many forms. Once dry. Although rarely used in fashion illustration today. Producing rtrong colours. vibrant colours of oil paint. Oil8 are hlstorlcally the professional painter's medium.

It is simply . Ballpoints. Usually made of rayon or cotton. Many now have computer-software programs that Hnk the sewing machine to your computer. as it is more dimcult to slice into steel and create unwanted irregularities along the cut edge. while using markers is a quick.. Fineliner pens are wonderful for emphasizing fine details. yours should offer a number of embroidory stitches. It should be applied evenly to one surface in a well-ventilated room. the steel ruler is useful as both a measuring and a cutting tool. Wider nibs are useful for blocking In areas of colour evenly. They are also useful for looking at details in photographs or transparencies. matt. they come in a wide range of single colours or variegated shades. use the needle as a drawing tool on the fabric. as spray adhesive can be messy. EMBROIDERY THREADS Hand embrotdery threads offer a vast choice of colour. so that you can trace figures or other elements. Stranded cotton is the most popular type. As light boxes are fairly expensive. A ballpoint is often easlly at hand and doodling in a relaxed atmosphere provides a perfect creative environment. allowing you to stitch a design created on screen. you might prefer to use a window for the some purpose.PENS There are all sorts of markers. steady surface for cutting with a sharp scalpel or knifs. and the strands can be separated to give you the thickness you want. shiny and metallic. The most useful blades are those with an angled top over a straight cutting edge. Be careful to protect areas you want to remain free from glue. however. Skin-tone markers are invaluable for fashion illustration. shiny stitches to textural. and It peels easily offthe board and your artwork when you have finished. A light box is a handy tool for the illustrator. although not always considered an art material. are worth experimenting with.. giving you a variety of options rangingfrom smooth. . EQUIPMENT The sewlng machine is an important piece of equipment for many fashion illustrators. them with convlction.They are usually supplied in packs of toning colours or sold singly The best rypes have a variety of nibs--wide. It is preferable to a wooden or plastic ruler. provide the most professional results when producing presentation boards. medium and fine. Spray adhesive is an essential for the illustrator. It does. A non-permanent m . Machine embroidery threads are presented on reels and also vary in coiour. it takes a confident illustrator to avuly -. synthetic and metalllc thrcads are also available. demonstrating creative flair in your fashion illustration. matt ones. a screen lit from below that alkws you to see through paper placed over photographs and magazine cuttings. you will own it forever. There is a groat variety of different embroidery stitches you can use to create patterns on the fabric. Mmking tape is essential for fixing paper to a drawing board. non-blotchy iu?sults. .and fibre-tip pens.e can also be watered down to create a flowing line. Highquallty markers can be costly but give good. thickness and finish. However. in fashlon Illustrations. To cut out mount boards and papers. Silk. such as intricate embroidery or knitted textures. including a variety of felt. giving a realistic flesh colour. Working in a single colour with a line quality that does not alter can produce interesting results. linen. If possible. if you can afford a light box. However. wool. collages and illustrations. convenient way of adding colour. Tu embroider. A cbrttingmat provides a safe.

Thls Illustratlon was first drawn and scanned. but be creative with what is available to you. and viceversa. Although not always seen as an art material. the best-known being Adobe Photoshop and Adobe illustrator. and cxperiment with the resulta. . can savc you time by enlarging and reducing images or by providing you with repealed copies for collage. Opposlfe. manipulate images and alter photographs. Some copiers are more sophisticated than others. Embroidery threads are bought on a spool for use on a sewing machlne or as individual skeins for hand embroidery. say.fivm cup This line drawing has been completed In black and pink ballpoint pens. ballpoint pens are easlly available and allow you to sketch freely. ranging from markers and hllpolnts to finellnets. Abouo A ilqht box. A selection bf pens. A computerized sewing machine with dlfferent embroidery options Is a useful tool for the Illustrator. make a red garment green. Usina a black backaround alves dramatic effect to this mixedmedi. There a n tutorials in Chapter Six that will inspire you to create fashion ~lluscrations using these programs. Many creative software programs are on the market to help you draw. You can also set the copier to "reverse" so that It copies all dark lines and areaslight. The scanned image was then embroldered In red thread onto a linen fabric uslnq a sewing machine. You can experiment with colour in your illustrations by altering the tones on the copier to. a white line drawing on a black background. Illustration. allowing you to create.A photo cop la^: orXerox machina. for example. Photocopied imaoes and coioured-oencll drawins ere combined with some digital manlpuiation. cutting equipment and adherivevaluable tools for any artist. A computer is becoming increasingly popular for fashion illustration.

The wheel Is then made up of colours that fit Into the f611ow1ng cateqor~es: primary. warm. blue and yellow make green. red and yellow make orange. secondary. For example.nclp. When mixed. The simplest way to learn about the theory Is to study the colour wheel. orange I preen I TERTIARY COLOURS M xlna a pr marv co oJr ~ I t its n aalacent seconoarv co our on the wneei prod-ces a tertiary colour. SECONDARY COLOURS The secondary colours are orange. The secondary colours are also equidistant on the colour wheel. tertiary. mlxlnq red wlth orange creates red. When the sun shines on a rainy day. b ue. these are equldlstant on the wheel. a rainbow often forms Tne basic coloLrs an a ra nDOw are red. yellow THE COLOUR WHEEL Jnoerstand na tne oastc pr. yellow and blue. re ion. Aqaln. cool and complementary. Having an eye for which colours work well together is essential for the fashion designer or illustratol. green and vlolet. even when we buy a car. whether you are choosing a scheme for a portfolio project. The &lour wheel Is a sirnpllflcdierrlon of thls spectrum (excluding Indigo) and arranges six colours Into a circle. . ino oo ano v o et.es of colocr tneorv. planning a colour-themed collection or selecting colours for a dramatic fashion illustration. The three arlrnary colours are red. They are produced by mlxlnq two primary COIOU~S. orange. and red and blue make vlolet. decorate our homes.orange and red with vlolet creates redviolet.COLOUR In our daily lives we are surrounded by colour and m&e choices about it regularly in the way we dress. and hnowlna now to aoo v cooJrs will help boost your~confldmce a i a fashlon Illustrator. green. yellow-gree range-yellow ange blue-green vlolet L3 PRIMARY COLOURS g Primary colours are ones that cannot be made by mixing other colours. In between the prlmary colours. They are equidistant on the colour wheel.

add a hint of violet.WARM AND COOL COLOURS A I colours ~ have associations. Cool colours include tho blues of the sky and water. value and snluration.bsociated with sunlight and fire. which recede into the background. Mixing a colour with black creates a slzade. . Tile result of mixing a colour with white Is known as a rint.atdo~t. and the greens of roiling hills and landscape. Make notes on how you m i x the colours so that you can recreate them in the furure. Mixinggrey with a colour is known as a lone. A highly saturated colour will give a strong sense of hue. Warm colours such as reds. Bearing in mind how warm and cool colours affect the viewer enables you to enhance the of your artwork. The amount of any one rciiour added to the mix affects the shade produced. yellow and blue. green or blue-that identifies It In the colour spectrum. When mixed together complementary colours produce a grey. Three distinct charactedstics account for the appearance of colours: hue. neutral tone. To make a colour darker. oranges and yellows are . Each of these can be manipulated by colour mixing or. Hue is the nrune of a colour-for cxample.. COMPLEMENTARY COLOURS Tile opposite colours on the colour wheel are contrasting partners called compl~mentary colours. Satu. The pairings are red and green. red. When the primaries are mixed together they produce a muddy black. The partners consist of one prlmary and one secondary colour. Value is the rulative quality of lightness or darkness in a coloucThis varies on a scale of black to white. and yellow and violet. and a low saturation will haven weaker presence. blue and orange. more subtly by altering the context in which a colour appears. also known as intensity. Start with three primary colours-red. 'They appear brightest when placed next to each other. Experiment by [nixingthe secondary colours. then the tertiary colours. They tend to stand out in an illustration and seem closer than cool colours. is the relative purity of hue present in a colour. For example if you would l i e a darker yellow. add its complementary partner rather than shading with black. U S I N G COLOUR-WHEEL THEORIES Mixing colours yourself in your chosen medium is the best way to discover how the cc~iour-wheel theories work.

the illustrator is free to select a personal palette For fashion artwork.n what seems lo be a fantasy land. However. a fashionand Eolour-prediction house. Not adding coiour for fear of ruining a perfectly drawn figure is sclf-limiting For an illustrator. keeping in mind the way that children splash colour onto a page and experiment with bold brush strokes and strong shades. which are sold as reference sources to designers and businesses worldwide. Visual impact Is achieved wlth a slmple colour palette. Limiting your colour palette. Promostyi then produces seasonal books recording their predictions. Be bold with cilour. intcriors. Say. hair and f u r coat.too much attcntion to the seasonal colour trend. providing a good balance of tolour.tlrlow I@ Remember that the white of the page can be used as part of the illustration. cosmetics and even cars seem to complement each other every season? How do fashion designers ail decide that. Below right COLOUR FORECASTING Have you ever wondered how the colours for fashion. subtle colours are crcstea w h i m contrib~te to a ca rninp atmospnere . using colour confidently is preferable to . The artlst has limited the colour palette to a few comDlementarv shades to create a Dartltular. green is this summer's colour? Or that our homes will be decorated in brown? The answer is that there are teams of professionals-known as "colour Forecastersu-analyzing data to provide colour predictions for up to two years ahead. then using an accent coiour cleverly is one . The pink is used as an accent colour on the 110sand plover. Although it is important to describe the garments. . Here.By mixing lead-pencll sketchlnp with watercolour oaint. Tn s I astretion was crcateo'~~ np and Adobe Pholosnop. desired effect. paying . the white page has been allowed to show through for the snow. Chapter Seven contains an interview with Promostyl. The company has a serles of agents that travel the world to research upcoming trends. Thinkabout the viewer and what you want the eye to be drawn to in your illustration. USING COLOUR IN FASHION ILLUSTRATION in the fashion industry colour palettes for clothing change from season lo seaso When designers produce new collections they are aware of the season's predicted colours through attending trade shows and sceking advice from fashion and colourprediction agencies. The strong background shade of the sky Is also picked up In the face.

a1 b Rialtt FI~UI~ have S been drawn directly onto a pale. Mixed media have been used. thinkof an illustration of a man in a blacksuit wearing o red belt.s ncerlected w tn bold. end the same technique Is used for the clothes to draw the vlewer'r eye through the Illustretion. are bonded by eubtle shades and tones. to focus attention.de of tne strong noman porrrrveo. the colours stronger in areas the illustrator wanted to draw attention to. lncludinq pastels. The red would draw the viewer's eyes to follow i L over the ensemble but without detracting fmm the predominant bIack suit. The balls in the sky are created with a marbling technique and their colours reflected in [lie patterns on the garment.cef' . The hair. adding your own fresh. Dempnstrailng a Powerful way of using colour in illustration. the bright " colours stand out horn the black background and her outfit fllls the whole page. The Images. you can create a flow across the page from top to bottom. Tne DlrCU brcdqro. pencils. This illustrator has chosen to work on a lemon background paper rather than white. individual response. and the flgure's cheeks are highlighted with red as are her painted lips. Thls serene image of a woman smoMng a cigarette is in stark contrast to the next illustration (aboveleft). By adding a few. in which the dramatic pose of the woman creates a uowerful atrno~uhere. l l y similar techniques yourself. for example in the contemporary illustrations on these pages. right) produce a calm atmosphere for the viewer.nd . left to right In this way the accent colour guides the viewer's eyes over the illustration. coloJr Jnderl ner the power ano attltt. red hat and red shoes. ' . . - In thls Illustntlon. lemon backaround oaner. For example. The image is dominated by patterns of colour. Here. way of controlling what the viewer notices. carefully placed accesnories in the accent colour. The subtle colours used in the fashion lllustratlon (facingpage. this image shows the benefit of experimenting with It In your work. created on the combuter. look at how other artlsts and illustrators use colour in liieir work. for example. palnt and charcoal. Is a brighter orange. A large area of dominant colour distinguishes this illustration. The remaining llluslration (above right) uses the same technique to create a strong image that puts the clothes centre stage. brlaht colo~rs tnat create b strlknq lmpresslon. wlth colours stronaer In the where theillustrator wanted . The brighter orange of the hair is repeated in the clothes to move the viewer's eye through the illustration. For further Inspiration. therefore.

tr. Depicting the qualities of fabric accurately brings authenticity to a fashion illustration. 1898. Oil on canvas. ~)ur. 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. la Andrl's G1r1 in cr RedDress the transparency of the chiffon is rendered by allowing the sheer sleeves and neckline to reveal the flesh beneath the fabric with such realism that it is almost like looldng at a photograph. These oil paintings by Andrl and Kllmt show dlfferlno methods of conveying the characteristics of sheer fabric when worn bv a female flqure. Girl inn Reel D~vss. Right Custev Kllmt.Visit the old-master paintings.ctitofSrr~ajti Krrips. chiffon dresses that each artist has portrayed in a contrasting style. The oil paintings above show two very different.FABRIC RENDERING AND PATTERN REPRODUCTION Left Ferdinand Andrl. observing the way they fold and fall. Every fold and crease in this dress has been observed and accurately rendered. Oil on canvas. develop an understanding of different fabrics and observe the way in which they drape and fall on the body. and this contrast itself serves to emphasize the sheer quality of the sleeves. and practise drawing the effecrs. To achieve a professional rtandard of fabric representation. The best way to gain this knowledge is to sketch clothed figures. Studying how artists convey the qualities of particular lwbrlcs Is a fascinatlno way to learn about rendering skllis. rarely lying flat but moulding itself around the contours of the figure. The area where the undergarment Is apparent is a denser. and even the girl's silk stockings shine with reflected light. Notice the shapes the fabric makes around the body. to observe how these artists skilfully represented Fabric. 1917. It would be useful to collect a range of fabric samples and practise drawing them. too. Observe the way that looser garments hang while tighter fabrics stretch on the body. In Klimt's Portrait ofSonja . darker shade of red.

The strlpes will wrap around the torso and arms 80 must be drawn with curved lines. up to the shoulder and down over thc hips to the hem. Accuracy at this stage is vital ifthe finished artwork is l o iook professional. It is a mistake to start from the top or bottom. pinstripes and herringbone. When you plot your stripes from the centre of the garment. imagine a person wearing that jumper. Stripes run across. Try applying the base coiours with paint and the iiighlights or shadows in pencil. Checks. the pink dress is made from ruched. Wool Woollen fabrics are generally woven in a variety of weights. sheer quality of the fabric is revealed on the shoulders. Like stripes they can he drawn straight or on the bias (diagonally)to form either repeated "+" or "x" ~l~ape Again. parallel lines. and you can soften the edges with a non-permanent finelinel. To create the intricacies of the weave. and include flannel. gabardine. although your fashion illustrations may bc highly crcative and individual. 'These lines usually mn down the centre front of a garment and are equidistant from each other. the intention of the artwork is to convey a garment or outfit. Wools are best rendered in a soft medium that will produce one base colour and a darker shadow because. crosshatch with two or more colours. regardless of their width or the direction of the print. or plalds. unless it is textured. inks. Other art materials rhat work well for rendering wool are pencils. If you iook at a horizontal-striped jumper off the body. Stripes may run in a vertical. in which a fairly limited amount of almost-dry palnt i s applied. as the direction ol' the stripes will become confused with the shift in hip and shoulder positions of the figure. Always keep in mind that. sweeping a wet brush over the outline. You could also try scratching directional lines into the surface of wet paint. a drawn woollen surface often appears flat. leaving part of the page white. checks are made up of straight lines that will curve with the body. The delicate. Weeds arrd herringbones can be represented with inks and markers. They can also be patterned-for example. pleated chiffon. which convey the iluidity of the pattern. Textures and weaves can be rendered with a dry-brush technique. the many layers of the dress evident in the opaque paintwork. tweeds. then follow tile lines of the stripes over the curves of the body. cuffs and at the hem of the dress. down or around the body. Strlaed and checked fabrlcs Woollen fabrics . fleece and mohair. Markers are excellent for drawing flat fabrics. ensure thcy are of equal proportion if that is true of the fabric. watercolour and gouache. keep in mlnd that they move with the body. then the lines of the stripes are indeed straight. are stripes running in two directions. However. A common mistake in fashion illustration is to render stripes using straight. Plan your drawings with Faint pencil lines before you begin to render striped and checked fabrics. s . stripes and check8 When drawing strlpes. Some striped fabrics have unevcn stripes that are not symmetrical. The representation of the fabric from which the clothing is constructed must play n significant role in your artwork. horizontal or diagonal direction. The correct way to draw stripes is to begin at the centre of a garment.Knips.

To give your illustration extra sparkle. most garments in sheer fabrics are made up of many layers. The darkest shade is for the folds and shadows. First. Secondly. Add the colour of the fabric over the top of the skin with a light touch in either pencil or marker. They can be rendered with the same techniques used for other sheers. net and organdie. but focus on imitating shine. Reat the shimmer of lamb. and sequinned lambs. begln by applylng skin tones to your fashion illustration. be rendered sensitively These mesh-like fabrics can be represented wlth fine crosshatchina that becomes darker where the fabric folds. a medium shade is for the general garment colour and the lightest for the highlights. satin and leather. stippling with a hard blush using fairly dry paint and creating sharp whlte highlights. including firm fabrics such as taffeta. This technique also applies if you are rendering many layers of chiffon-the more layers. but there is a difference in the way that they fall and catch the Hght. use metallic pens.appearance of the fabrlc as it lies over the skin must. Add highlights where the body juts out from the fabric. Shiny fabrics divide into threo categories. The lightest shade. voile. including organza. use lighter tones. you can build up the floral patterns and embroidery by using a fineliner to indicate the detalls. and softer velvet and velour. there are the decorarive fabrics with a sheen. Softer sheens such as that on velvet should be approached in the same way. for example. Where sheer fabric touches the body. Choose any art material for these three shades. th. georgette and some laces. often surrounds the dark shadom. such as chiffon. Alternatively. To add a highlight to the garment. shading should be darker. The edges of lace may be scalloped and heavily patterned. With the exception of lingerie. Shiny fabrics are usually rendered in three shades.Sheer rabrlcs Shiny fabrics Sheers Sheer fabrics are so fine that a single layer is transparent. draw on a white shimmer line or leave the white of the page to shine through. The skin must be visible under the fabric. which are usually beaded. dry medium such as pastel is ideal for creatinga velvety smooth surface to your fashion illustration. so be careful not to choose too dark a colour. avoiding heavy outlines. - Shhy fabrics To illustrate shiny fabrics. Sheers can be categorized into two groups: the softer sheers. but it wiil be impossible to draw every intricate detail. sequins and beads as a pattern. Organza and organdie have a stiffer consistency than the sheers discussed above.To render transparent fabrics. observe where the light soulre falls on the garment. only without arew of solid colour or solid outlines. Where it floats freely. Clever rendering wiil create the illusion of reflected light. A soft. usually white. and the stiffer types. try overlapping blocks of colour to show where one fold of fabric lies on top of another. tulle. there are the light-reflective types. Garments made from these fabrics stand out from the body and create a sense of drama. at the chest. and you can see skin tone through it. arms or legs. Simply suggestingthe style is perfectly acceptable in fashion illustration. For lace. When sketching them. Your drawing lines for such a delicate fabric should be fluid and without sharp corners. Instead. The third category includes heavily panerned reptile skins and brocades. For lace or net. . The deeper shadlng conveys the double thickness of the fabrlc. tap all over the drawing with a medium-nibbed marker. the denser the shading. and touches of it should be added to the edges of the garment. create feathery edges. or include undergarments. likewise.

Knit differs From woven fabric in its stretch as well as its texture. such as angora. is often adorned with topstitching. This creates fuzzy. Rib.You will also need to master authentic representation of the stitches used in knit.These are usually known as Fair isle or A w l e undare best shown by blocklng in the patterns before adding texture and colour. boucle and metallic. is the term used to describe a series of raised rows in knitted fabric. The best method is lo use wal&colour paper. so again this should be rendered with highlights. dampening the then adding ink or paint in light touches. I This fabric has a texture created by its looping and twining threads. and you will need to change your rendering style accordingly. abstract. Denim. Knit patterns often include geometric shapes. cuffs and edges of a garment and can be indicatid with repetitive line. woven fabric.Feathers and fur ~ 0 t natural h and imitation feathers and fur are diecult to render realistically It is a common error to ovelwork these parts of an illustration by sketching in too many lines. fit the same count into your drawn Figure. Embroidery thread also catches the light. Handmade Fabrics are often embroidered or otherwise embellished. the i'abric must look raised from its background. using a limited colour palette. cashmere. Knitted garments are either constructed by hand or machine. a heavy. mohair. Embellishments will appear closer to the viewer if worked in light colours on a darker background. remove some of the detail as it can look overworked on a smaller scale. IFor example.or machine-stitched patterns. Ribbing is often found around the neck. For example. soft lines that represent the delicacy of Feathers and fur well. Render some of the pattern and disguise areas with soft shadows. When you reduce a fussy print. Feathers and fur Pattern and prlnt I:ashion fabrics can be printed with almost any design or motif. Por white feathers or fur. chenille. but draw in elements every now and again to indicate the presence of decorative stitching. lb achieve the scale. paint a dark background then use bleach to add flne lines. animal and polka dot. For example some aim raised with padding or wadding. The simplast way to calculate this is ro hold the fabric up to the centre of your body and count the repeat in the directions of the side seam and along the waist. cable and braiding can be indicated with a combination of curved and straight lines in a rope pattern. while purl and garter can be rendered with a series of loops and ellipses. raised rextures and flowers. Embellished fabrics are often manipulated through stitching. because they demand very different rendering techniques. To render knitwear differently from a woven fabric you need to draw in the rib. all of which can be rendered by the illustrator. you need to bear In mind scale. including floral. In addition to the repeat. rivets and prominent seams. or ribbing. Embellished and embroidered fabrics Not all fabrics are the same through their length. Gain awareness of knitwear variations. and produced in various wools and yarns. To capture such techniques on paper. some vary in texture. It is impossible L o record every detail. then decorated with hand. A design that is duplicated or copied is called a repeat pattern. a lifesize floral fabric must be reduced to fit into the proportions oFa drawn figurc. If you look carefully Patterned and printed fabrics Embellished and embroidered fabrics .

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These lllustretlons have been created using the rendering technlaues described In the preceding section. .

using a simple. you will see that it is made up of a series of diagonal lines broken up by the weave. rips. Highlight the topstitching in areas where it 1s prominent. Divide a sheet of plain paper into a grid of blank squares. Use darker shades for the diagonal lines and paler ones for the weave. Place aviewfinder with a square view over various fabric samples. experiment by rendering Fabrics yourself to create a set of reference illustrations. . Copy this effect using sharp. Denim rivets are often metallic and can be rendered effectively with a metallic pen or paint. broken line. Today denim is often customized to include embroidery. Try to create the same effects that you can see through the viewfinder In your squares. Building up a library of authentic rendering techniques Is certain to be a useful aid when creating fashion illustrations in the future. For areas where the denim is worn. Make notes next to your accurate renderings to remind you how to create similar effects again.at a piece of denim. Experiment wlth a range of media until you find the best way to represent each of the fabrics. dilute the pencil marks with water to create the effect. watersoluble pencils of varying shades of blue. all of which the fashion illustrator must draw attention to. print and jewelled accessories. Fabric reference exerdse To make the most of the information discussed in this section.

PRESENTATION 0R 'ASHION IESIGN .

or concept. A mood board captures the style and theme for a set of designs by displaying images. technlcaldrawings.ntroughouty~ur education and career as a fashion designer. board. mood boards and promotional fashion illustrations in an eflctive way Thls chapter looks at how to use your initial inspiration and sketchbook ideas to create original designs and build ranges. A mood board is also sometimes known in the industry as a story. Below is a useful checklist of Items to gather when compiling a mood board: Mount board Defining image(s1 Backing papers Foam board Spray adhesive Cutting equipment Colour samples Fabric swatches Textile samples Text [to include title and season) - Mood boards baaed one theme of tradltlonal blue-and. It will show you how to presentyour ideas to a professional standard without limiting yourcreativeftair. with colour palettes and fabrics also represented. best define the mood or theme for your design ideas. lay out all your research material and decide which image.whlte china display Images that deflne a classlc. MOOD BOARDS Creating a mood board is an excellent way to organize your research and ideas at the beginning of a project. timeless style. and how to gearyour presentation sryla to suit a particular client or market. These images can be photocopies . fabrics and colours that are to be influential in the creative process. First. or Images.you will need to present your design ideas. cohesive statement to the viewer. who galns an understanding of your design direction. A n effective mood board will make a clear.

The presentation colours have been limited to shades of blue and cream. Right This photograph shows the completed sult belnq modelled on the catwalk In a fashion show. such as embroidery or fabric manipulation. The mood board and illustration show how vital it is to think ahead and plan carefully when presenting your artwork. and decide on the colour of the mount board and backing papers you will use. decide how to display it creatively. with images mounted onto foam board to give a three-dimensional effect. stretching them over card. Make some rough sketches to see how best to arrange your items. It is easy for the viewer to appreciate the theme of this mood board. It IS important to display photographs of your creations In your portfolio. Use the shapes In these dlaprams to represent th@things you will place on your mood board.The selected fabdcs have also been pinned on. or use Letratone. avoid doing so by hand. from a sketchbook. . When you have selected your colour palette. or neatly sewing the edges. Tho next step is to plan the layout of the mood board for maximum impact. The fashlon illustretlon has been displayad on complementary mount board. The headdress was Inspired by the floral designs on the blue-and.Len The design of this striped trouser suit was Inspired by the colours of the China In the prevlous mood board. Colour cholces must I)e coherent throughout the project. Limit the amount ofcolours you display otherwise the board will become confusing and difficult to read. Flat drawlnos of the garments have also been mounted with fabric samples. and by using the same mount board to frame the illustrations. The images all need to tell a slmllar story. The artist has continued the theme by linking the colours. Use a computer to print text. it can make a mood board look amateur. A promoclonal fashion illustration (above left) for the collection demonstrates how decisions made in the mood-board process can be applied when illustrating. Pay attention to prevailing colours as you select images. Fabric samples should complcmcnt the images in colour and theme. Peat any textile sampling. If you want to apply text to your mood board. Prlnted fabric has been colour photocopled onto acetate to provide a background. Example diagrams of possible layouts for mood boards show that It Is essential to plan your Ideas before fastening elements In place. wrapping threads around card or palnting your own samples. jagged and frayed edges will spoil your mood board. Frame your fabrics. so think about them as you compile your mood board. IJnless handwriting is paticularly beautiful. Think about how to dlsplay these samples. in the same way. too. The mood board (facingpage) shows ideas for a refined collection based on blueand-white Spode china. the boxer represent the colour palettes and the larger rectangles the defining images that Illustrate your mood or theme. For example.whlte chlna. If you use more than one image there should be a common link between the colours. Untidy. The final outfit (above right) seen on the catwalk demonstrates how the theme moves through the whole process. Various means include cutting our paint-swatch cards. patterns or themes. magazine cuttings or photographs.

Prom discovery of sources of inspiration. This foundation work provides a starting point for experimental fashion sketches. Ask questions such as who will be wearing the clothes you design-how old are they. and the exploration of Ideas in your sketchbooks. They have been designed fiat without the aid of a figure template and by drawlno only the garment. shape and styling so that. Servlng does not only as a rough the influence the shape and design of the clothes. the designer includes part of the figure. When a collection is shown on the catwalk it is easy to wonder how fashion designers produce so many new garmcnts. Have the confidence at this stage to draw rough sketches without worrying about mistakes and bad designs. fabric. and are they male or female? Pinpoint the budgets and price points you are aiming for. lhey share linking elements such as colour. when viewed togethec they create a cohesive collection. While garments work as part of individual outfits. drawing garments directly onto the pagc. known in the industry as "design roughs': When representing your thought processes on paper. the designer drew directly onto a figure template then moved it aionq under the layout paper for each new figure. although do keep in mind correct body proportions. Forget about perfection and let your ideas flow freely. How do their ideas get from paper to the bright lights of the fashion show. . and how many designs do they complete to present a full range? Also.street store?Are you producing a casual range or occasionwear?What season is the collectlon destined for? It is only when you are clear on all these points that you can begin to design. Is it a couture clothing range or a collection for a h1gh. how do they create the story of their collection?The simple answer to all these questions is "careful planning''. I Opposirc These fashion designs have been drawn directly onto layout paper. Remember the lessons from previous chapters when planning your fashion range. Gain an understanding OF who you are designing foc identifying your target market and customer profile. but thls show what the garment is drawn free-hand might look like on the body. will oRen spring the theme for your collection. You can almost see the designer's braln worklng faster than the pencil to record these design roughs1 70 Bslo~u E 5 b = 3 To produce these fashion designs. creating a new design on top of It.DESIGN ROUGHS AND RANGE BUILDING Fashion designers produce a series of connected ideas that are later rcalized in their clothing range. The Wrst stages of planning should include a thorough breakdown of the design brief. Find thc method that best suits your personal design style. you are most likely to commit unique paper' Some designers draw ideas onto the figure uvlng a template (below) while others prefer to design flat (facing page). In this way. again always using correct body proportions.

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Source fabrics by visiting shops and contacting factories that supply via mail order. Always ask to see a sample and check that you like the way the fabric handles before buying. your presentation style will develop. For specific fabrics. to enable you . and figure details are not important when designing at this stage. Attach small pieces of your chosen fabrics to your designs as you draw. Do not worry about creating beautifully finished sheets--the purpose of design roughs is to assist you on your design journey. decide which fabrics and trims your garments will be made from. As your skills continue to improve. plan the fabrics and trims from whlch your garments wlll be made. This design rouqh clearly shows the differences between the fabrics in both out~lts. Faces TO produce your own design roughs.A design rough does not have to be well executed or a perfect piece of art. When producing design roughs. look on the Internet.

rather than on the figure. For example. Take into account any embellishments you might add. if you intend to embroider or manipulate the fabrics. overleaf show how variations of a similar garment have been tried. Designers often use a limited palette when building a range so that coiours harmonize and outfits can be co-ordinated. Sleeve lengths vary. The next step is to build your designs into a range. avoid portraying flat. Watercolour has been used to add detail to the deslqns and to suggest a colour palette for the range. considering how it will drape and hang on the body. you will notice common design themes running through your choices. the small proportions of the heads help to emphasize the exaqperated size of the padded garments In the collection. start making decisions about colour. and your dcsigns should be l i k e d by colour and shape. However. try These designs arc all drawn onto fairly unrealistic figures. At this stage you should not aim to produce a polished fashion illustration. The design roughs (below) have been painted using subtle watercolour shades of creams and browns. and the necklines change with each design. To encourage your ideas to flow like this. When designing. rather an image that focuses all attention on your designs. Repetition is an important tool in creating a cohesive collection. At the rough-deslgn stage. add experimental samples to your design roughs. This method of working not only saves you time. which only have paint appUed in the areas of shadow. wavy lines in direct contrast to the smooth fabric of the other garments. The palnt runs and splashes but It doesn't seem to matter. The designs . As you select outfits. llfeless fabric. The design rough (facing page) shows the differences between the fabrics in both outfits clearly This student has drawn the texture of the knit using many close. use a layout pad. Importance should be placed on the clothes themselves.to see which fabrics and designs complement each other. but allows you to see the range developing. Place a template underneath a page and design over the top. Repeating this process of designing over a template encourages a cohesive collection of designs. see it as three-dimensional. . with greens and pinks acting as highlights. This student did not spend hours metlculousiy perfecting the figures or a palntlng style. Instead. 1b develop your designs. yet In the deslqn roughs captures the character of the collection. adapting the original design but keeping the related template outlines.As you produce design roughs your ideas will flow like these. This is a pad of thin paper that allows you to trace ideas easily.

trousers.sketching about sixgarments on one theme. You may need to include a selection of balanced separates such as skirts. the outfits can be fanned out and rearranged to dlrcover which look good together. interchangeable wardrobe such as that shown below. is often the ideal. Repeat this process of design experimentation until you have a store of fashion designs from which you can build your range. A complete. When you have built your range. changing one feature with each new design. Think creatively about how to present your collection at this stage because it is the first time you are telllng its story. The Images on the facing page show various Above These design developments have been presented In an unusual style: Jolned In the centre by a split pin. but which also sit well with others when mixed and matched. tops. ~ o t how e the basic shape of the top Is the same throughout. draw it onto one page so that it can be easily viewed as a complete collection. . Depending on the size of your range. yet smell elements such as the neckline or sleeves chanqe with each new deslgn. dresses and outerwear. in which garments work in harmony with each other. For exampie. you may need to rsduce your designs on a photocopier or scanner to fit them onto a single page. incorporate frills into a series of garments. Rkht These design rouqhs show the benefit of repetltlve deslqn in exploring different detail options. The easiest way to make a selection for your range is to lay out all your design roughs and choose the outfits that look good In their own right.

The first image (rop) presents the range in a simple but efEective outfit line-up.this tashlon illustretlon Is accompanied by fiat designs of the garments. . The second image shows both the front and back views ofthe garment. which allow the viewer a bettelaunderstanding of the shape of the garments. and the viewer can clearly see how the outfits fit together. and the back views could be trearcd In the same way on another page gf your portfolio. .TOP This collection line-uu is shown in a clean. and focuses on the clothes in greater detail. The figure is accompanied by flat designs. ensuring that the figures look as if they are standing on the floor rather than floating in mid-air. ' '* rnerhods ofdisplayinga collection. The poses are simple. The whole collection has been presented on one page. uncomplicated style with subtle colours and background patterns enhancing the designs. Background patterns and colour choices are subtle but clearly emphasize a cohesive collection. nolow For clarity 01 UnderStandlnQ. . Even the pattern detail of the fabric has been emphasized in the circles. '. >. with various stances showing off the front of the garments. The precision of the flats (see next page) enhances understanding of the designs and allows the illustration to be freer in style. The block of colour at the bottom ofthe page gives It grounding. ( : ! . 6'.

fusing and fastenings.Specific training Is required to be a CADICAM operator. below) will even have meticulous details about darts. CADICAM systems speed up many of the manual-design procedures and operate specialist-manufacturing machinery efficiently. A detailed sketch shows a close-up of the collar construction and the button positioning hidden beneath the lapel. rather rhan on a figure. This style of drawing is most often used to accompany a fashion illustration. collar revers. oppnsle top r. A sample specification sheet used in factories (such as the one on the facing page. such as the collar. Specs provide a safety net for all and eliminate the possibility of error. We saw [on p. Accurate measurements are added to the drawing. it would be difficult to imagine the shapes that make up the outfit. From a spec.Much of this information Is compiled using a computer system often known as CADICAM (computer-aided deslgnlcomputer-aided manufacture). top left) shows a series of flat designs. The working drawings (facing page. specs (or schematics) ail describe the diagrammatic styles of representing an item of clothing. giving the viewer more information about how the garment is made to back up its visual description. They are also vital in the costing process. along with details about lining. Practise drawing clothes from your wardrobe and. too. trims and pockets. from your design roughs. More complex parts of the garment. The simplest way to produce a flat is to sketch a garment in pencil. means a sample machinist is able to make a garment simply from the information provided. pleats. its seams and topstitching clearly Identified on both the front and back views. the medium line for the garment structure and the finest to emphasize the details. 75) how the flats interpreted the illustration. trims. Drawings for flats should be clean. Creating the design from an illustration would be almost Impossible. accompanying an illustration. the details Indicated in the flat are also shown in a more preclse version known as a spec (specification]. it is possible to work out all the materials required to make a garment and cost its production accordingly.ighl An accurate speclflcatlon of a coat drawn to scale has been worked using fineliners of varying thickness. Rats. Notice that the proportions are of a realistic body size--scale and accuracy are important for the purpose of this type of drawing and exaggeration is not appropriate. pattern matching.FLATS AND SPECIFICATION DRAWINGS A variety of terms are used to describe the drawing of a detailed garment opposlk top 1eJI Flat designs can also be done on the computer. pocket placement. threads. hems. with a detailed spec. or schematic. pockets and unusual sleeves. then draw over the top in black ink. In industry and the commercial world. a garment's correct specifications are mapped out to the last miliimetre. . Use the heaviest to outline the garment. with the machinist having to make crucial declslons about the garment construction that could differ from the designer's ideas. showing front. serving the same purpose as handdrawn flats In allowlng the designer to explain technical aspects of the garments. buy a set of Rneliners made up of three different nib thicknosses. bulow A mock example of an indurtrystyle speclflcatlon sheet produced uslng CADICAM SOftwarR. Some designers actually work out their design roughs in this way if they find it easier to design ranges flat. pleats. You will learn about the construction of garment details by drawing them. For this. back and side views with technical descriptions. but with every detail of the garment logged. it should be simple enough for the garment to be produced anywhere in the world. opposite. Compiling this information on a sheet. The image (facing page. They are twodimensional drawings of garment construction. Without them. sharp and precise. practlse drawing more complicated details such as trouser seats. created on computer. working (or technical) drawings. specification. in order to consider technical aspects as they work. drawing. to enhance your understanding of your own designs. In particular. top right) for a coat have been created in this way. buttonholes and pressing. based on the scale drawing above It. are clearly explained. This style of accurate drawing is difficult for those who like to draw freely using sketchy lines. They also show design details such as topstitching. For this purpose.

Tiipbuttqn placements: drill 150mm and 3Qmm from front edge S4Ommfrom lowerhem edpo. Tap of well placement: 580mm lrom Iwer hem @doe l%mm lfomfront edge .

you wlll have to make presentations to buyers from all types of companies. top cenhz The front and back views of the garments are drawn to speclflcatlon. such as street-or sportswear. tho fun figures below are highly appropriate for s street-.then the same colour palette. The same character runs throughout all four pieces.imases . that determlned the collection designs shown In the followinp pictures. such as tallorlng or workwear. suxf. R l u w The fashion collectlon has been presented as a clear Ilne-up. It doesn't take long to realize that. in a portfolio. most importantly. . featuring six outfits that are stylistically linked by the use of a similar figure template. original and.T O P /eft FASHION-DESIGN PRESENTATION As a fashion-design student. as the designer has produced accurate specifications of each outfit in the collection. When you work in the industiy as a designer. with a small thumbnail image showlng whet the garment wlll look like on the flgure. and the computer has been used throughout. on th~s mood board are displayed some of the defining . you will soon be out of a job! Be adaptable in your approach to your work. on completion of a project brief. Immediately. For example. o p p O S ! t Q . Notice the links between elements on the mood boarcl and the flnlshed garments. The promotional fashlon illustratlon does not require front and back views of the garments. professional. top r&ht This Illustration. Opposite. If you have planned carefully. Creating an atmosphere and describing the personality of the customer who will wear the clothes is what this illustration Is primarily about. Your design presentation should always be driven by a clienr's market. The mood board displays some defining images that have influenced the collection designs. media and so on will have been used to work through the project. Opposlre. building a cohesive theme for the final artwork. The four images (facing page) show a selection of pieces from a design student's project brief. but would be Inappropriate for more formal designs. if you have one specific style of presenting your fashion designs and always stick to it.B8law These figures are ideal for showing certain fashlon garments.or skatewear company but not for a tailoring firm. Oppslrr. Alterin9 the pose provides slight variations. characters. A similar colour palette links the artwork. it is possible to establish some common features that link the work together. you are expected. The overall presentation is crisp. accompanies the accurate speclflcatlons for each outfit In the collection. descrlblnq the personality of the customer who will wear the clothes. to present not only a fashion illustratlon but all the design work leading up to it.

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allowing the viewm to focus on each outfit. An iiiustrationaimed at selling an outfit should glve the buyer comprehensive information in a ciear layout-this one answers its purpose perfectly. because a buyer requires every garment construction detail. flat. Rlglil e 2 It shows the outfit clearly on a figure. This final design is presented on top of a collection of old receipts and bills.V1 0s The layout of the design hoard (above left) is easy for a buyer to understand. The stance of the figure conjures a relaxed mood for the collection.The fabrics for the garments have been scanned on computer and could be presented to the buyer on separate fabric cards. but also thc front and back details on small i ? Be imaginative in your presentation. . An oval background frames the designs. Don't forget to include beck views too. and remember that there are many aiternatives to the blank white page. The presentation of your fashion designs could mean the difference between securing a job or not. It is viral that you adopt a professional approach to your work at all times. Detailed specs describe the front views of the garments. This final design (above right) is enlivened hy the humorous approach of using old receipts and bills from the automotive world instcad of a blank page for the background. Always provide the viewer with as much infor~nation about your designs as possible.s.

I "ISTORICAL ND 'ONTEMPORARY :ASHION LLUSTRATION L .

The fist engraved fashion plates were published in The Lady's Magazine in 1759 and. hairstyles and mannerisms. and the outward expression of wealth it conveyed. By the eighteenth centuly. and sald to be based on his thoroughly modern wife. more signifi:cantly. haue distinct changes In lllustrarlveslyles. floating and twisting lines. PRE-1900s Before the turn of the twentieth century. Their work also had a vast impact on the way that fashions were illustrated. Duringthe same period. endorsed aroducts for manufacturers and even lnsplred songs. and many society women tried to imitntc the beauties he portrayed in their styling and dress. fashion illustrators weiu?strongly influenced by art movements such as Art Nouveau. and detailed patterns. Fashion Illustrators have depicted the latest fashions. but It was the creatlon of the "Glbson Glrl" that msde him most famous. artists such as Matisse. This character was tall and slender. artists have been inspired by costume and fabric. technlcal improvements in print meant fashion. Russia and North America. Their drawings had a profound effect on the fashions OF the time. At the turn of the twentieth century. was never out o f the press. Alphonse Mucha created posters in the style ofArt Nouveau with swirling. Alphonse Mucha and Charles Dana Gibson had both begun to make their names for painting beautiful women. and would go on to become famous illustrators of fashion in the new century.i'fgure. fashion ideas began to circulate via newspapers and magazines in Europe. Through the last century alone. Dali and Toulouse-Lautrec demonstrated a keen interest in what their subjects wore. These were instrumental in determining new styles of illustration. taken place. others P I Charles Dana Glbson illustrated for magazines such as 'IYme. publicizing not only the garments but their creators. and tlw popularily oj'the illustrated.lollarrepresented the beginnings of fashion illustration. Mucha's women wcre languid. L!Jeand Hurp$r!s Bnranr.The story offashion iihatratlon is one of change. Degas. She was realized on stage. Different drawingszyles haue emerged. In the same way. Women everywhere tried to emulate the "Glbson Glrl" by coaylng her clothes. . by the nineteenth century. As early as the mid-seventeenth century. Art Deco and Surrealism. the detailed and descriptive etchings by Wenceslaus 1. encouruged by the development ofnew media.how slylesjkJtnthe past still irajluenca illustmtols' work t o d a ~ I THE BEGINNINGS OF FASHION ILLUSTRATION Throughout the centuries. This truly shows the lntluentlal power of fsshlon Illustration at the time. with flowing hair and dramatic elegance. Fashions haue evolved constantlvand the ~rpresentatiolz of thefashion figurr has altered dramattcally Thiv chapter will examine why these changes occurred and.

Thls technique of simple stencilling originated in Japan. Gibson first worked with paper cut-outs and silhouettes before becoming famous for his pen-and-ink drawings. The elaborate Ballets Russes and its costume designer. These were the decades before the photographer and camera took over llic task of showing fashion to the world. illustrators such as Leon Raksi and Paul Iribe captured the true spirit of the new hshlon trends and portrayed them in an individual manner. conveying the mood and hopes of the time. hairstyles and mannerisms of the tall slender "Gibson Girl" created by Charles Dana Gibson. These feature in the colourful fashion illustrations of Georges Lepape. Life and Harper's Enmar: THE EARLY 1900s The first 30 years or so of the twentieth century were the golden years for fashion illustration. Through Bakst. known as pochoir. challenging the subtle shades of Art Nouveau. introduced brightly coloured oriental fashions to the world. Leon Bakst. . many of which were line drawings. an enthusiasm for Orientalism was introduced to fashion. highlighted with watercolour through finely cut stencils.Stencilling is a simple form of printing that is still a popular means of adding colour to an illustration today. He illustrated for magazines such as Time. Pocholr Images from the book L a Chosas &Paul cnrulated the clothes. originated in Japan. influencing the couturier Paul Poiret to produce his Innovative designs. In the early 1900s.Polrot by George8 Lepape. This technique. The vivid colours of his drawings influenced fashion for years to come.

including Marcus Chin. Right Today's illustrators arealso fond of showlng their fashion flaures in a busv envlronrnent. Georges Barbier was the chief illusrrator. surrounded 3 THE TEENS Contemporaries of the illustrators discussed above. the most famous being a Russian-born painter known as Crtd. His life's ambition to become a fashion illustrator was fulfilled when he signed up with Harper's Bazaar. a well-dressed woman Chin's lllu~tratlon at 3 musk gig sbplnq a (I@$$of wine. The First World War had a significant impact on fashion illustration. Vogue. Perhaps best known for his elaborate costumes at the Folies Bergbres in Paris. a trend followed by some of today's fashion illustrators. the cousin of Georges Barbler and another advocate of the poclzolrstyle. but the film industry grew dramatically. Georges Barbier and Pierre Brissaud were French illustrators working for an early fashion magazine called La Gnzetsadu bon ton. Printed journals and magazines declined as a vehicle for fashion illlustration.. where he continued to contribute fashion drawings fof the next 20 years. Many of the illustrators later went on to work for the company's prestigious fashion magazine. Art Deco design also began to feature heavily in Illustration. Marcus show. During this decade many fashion and costume designers for stage and film hit the headlines. $ Left Jeanne Lanvln walKlng dress (1914) for Ln CMattodu k ~ z ton by Pierre Brissaud. theatre and the sinuous lines of Art Nouveau. He also greatly admired the work of Aubrey Beardsley. The illustrative styles of the decade from 1900 to 1910were landmarks in the development of twentieth-century illustration. Many illustrations now showed fashions in busy social scenes. and Cubist geometry influenced the work of illustrators such as Charles Martin. whose influence can be seen in Barbier's strong outlines and bold figures. His style owes much to oriental ballet. Ertd also designed many lavish costumes for American movies. I I 1 . eventually acquired by Condd Nast. His illustrations often contained more than one figure and depicted social scenes.. Similar Cubist shapes were revisited in the 19808 by fashion illuslratora such as Mats Custafson and Lorenzo Mattatotti.

Illustrations now featured longer and leaner figures. The "flapper" became an iconic flgure of the "roaring twenties". - . Chanel's simple styles. angular and llnear in the twenties. andvionnetk bias-cut dresses defined a new era. Douglas Pollard. nppearing in graphic designs enhanced by subtle colour contrasts. and contemporary lllustrators such as Stephen Campbell use character and humour in their fashion illustrations too. Until the twenties. His figures were elongated and somewhat abatract in style. However. Exaggerated fashion figures appeared in the works of Bduardo Garcia Benlto. emancipated women that epitomized the decade.The cartoons ofJohn Held Jr during the "jauage" adorned the covers of The New Yorker ~ n Lifs d magazine. The emancipation ofwomen resulted in a new female image that rejected unnecessary flounces of fabric and impractical ornate frills. Benito captured the essence of the strong. the illustrated fashion flgure had been drawn with fairly realistic proportions. Below l a0 The cartoons of John Held Jr became tconlc In the "roarlnq twenties" and adorned the covers of society magazines. which had a dramatic influence on culture and the arts.?hro of the moat influential women in the fashion world at this time were Coco Chanel andMadameVlonnet.THE TWENTIES The First World War was a period of great social upheaval. His style. Both designers opened shops in this decade and went on to clothe women for many more. is still mimicked today. & b ~ uright Modern Illustrators such as Stephen Campbell use personality and character to show off feshlonable clothes. so too did the fashion silhouette. as artwork and fashions became slmplified. In his many memorable covers for Vomein the twenties. George Plank. teamed with compulsory costume jewellery. Helen Dryden and John Held Jr. Campbell's preferred tool is the computer to create hla popular cartoons. featuring funny dancing cartoon characters with bright backgrounds and humorous scenes. Gulllermo Bolin.

by David Downton. in both editorial and advertising formats.THE THIRTIES The beginning of the thirties saw fashion magazines truly utilize fashion illustration. THE FORTllS During the Second World War. Francis Marshall. MarcelVertes. Eric represented every detail of garments with the lightest of brushstrokes. many European fashion illustrators went to the United States. and drawing llnes were softer. Ruth Crafstrom. textural and curved. Eric drew only from life. Carl Erikson. where there were more work opportunities. emerged in the thirties as a remarkable draughtsman who would become an influential fashion illustrator for the next three decades. and some never returned. i . The fashion silhouette returned to a more realistic feminine form. Rend BouBt-Willaumez and Cecil Beaton. w e Almua lefl ~ r i ccover . Dominating forties fashion illustration. the fashion photographer began to overtake the illustrator as the camera replaced the paintbrush as the favoured means of advertising fashions. This image shows an illustrative advertlslng campalgn for Topshop. Towards the end of the thirties. Cecil Beaton contributed amusing fashion sketches and cover designs to Vogue throughout the thirties but became most famous for Oscar-winning costume designs for stage and screen. never memory. Today freelance fashion illustrators still work for advertising companies: the image (above right) IS an advertisement for the UK highstreet retailer. along with Christian Bdrard and Tom Keogh. A new romanticism was reflected in the illustrations of Carl Erikson. Topshop. An advocate of observing the human Figure and capturing the beauty of real life. 2 September 1936. were three illustrators who coincidentally shared . and his photographs ofHollywood actresses. on both rldes of the Atlantic. Schlaparelli's flamlng red velvet hat and caracul (lamb's wool) scarf streaked with blue. Promotlonal postcards featurinp h ~ s work were available in the store for customers to take away as a keepsake. The early port of the decade saw illustration styles continuing in the same romantic vein they had embraced in the thirties. He also illustrated the advertising campaign for Schiaparelli perfumes. Vertes worked for Harperb B m r and Vanity Fair.qreen awe thelr wit and Inspiration to the Surreellsts wlth whom she was closely involved. his illustrations characterized by an economical use of line and colour. Abow right pashlon lllustretors still contribute to advertising today. by David Downton. Eric's association with Vogcrr lasted for many years. known as Eric. of British ~ogus.

strat on stdoents at tne ~arson'sSchooi 01 Deslgn In New York. where he taught during the forties. he admitted that he completed at least 30 preparatoly sketches before creating an illustration. $harp hatching andviqorous shadlng. and cleverly merged the character of the aarments wlth that of the wearer. influenced by house that lasted more than 50 years. though in his later illustrations he developed a strong sense oFcolour. Ren6 Bou&. kfl Renb Boutitwiilaumez wag influenced by Erlc. using black brushstrokes to outline the form.the name RenB. Grt~au's and hastiness. M Picasso and Matisqe.Willaumez worked for Voguein the thirties but continued throughout the forties. swlft. Rend Gruau is perhaps best known for creating the advertisements for Christian Dior's "New Look': establishing a professional relationship with the Dior design e painted in a bold style. but reflned hls own style through adventurous use of colour. His decisive and accurate drawing style was derived from strict observation. He used pen and ~nk or crayon. His Illustrations had a dramatic sense of style and commanded space On the page) of vogra for many years. . A lesson to us all. However. Rend BouchC began illustrating cxclusiveiy in black and white. and his images often appearcd spread across double-page Vogue editorials. Bouche had a strong sense of co oLr 3na ha passed on h s knoaleaae to fasn on 11 . as In this example from 1945. 2 Y e k i ? Abow Renb Bouchb had a firm and accurate drawing style that derlved from strlct observation. minimal detail but style gives t h e illusion of speed a generous amount ofmwement and shape. using an Expressionist style influenced by Eric.

a great influence on fashion illustrators.Thmugh his illustrations he portrayed the rebellious attitude of the young generation and reflected rashion as it took centre stage in this colourful. who emerged in the fifties. Hls huge imagination meant that he drew In every style posrlble. His versatility meant that he went on to illustrate for the next three dccades. Just one illustrator shone like the stars of illusrration from previous decadesAntonio 1. as seen In this cover of 1953. Here. The sexy. so much so that photographers and models became celebrities in their own right. W glamorous bfe depicted in the movies and on television showed up-to-date images of beauty and the use of illustration began to decline. end he stlll Illustrates fashion today. the fashion illustrator had become less important than the photographer for magazines.ason Broods aor*s aig ral ( vet draws from n stor cal nfl~ences such as Arar l o caoture nls Infamous comic-book girls. L r THE SIXTIES In the "swinging sixties". .ay r e jbsr as en mportant part In n s 1964 arrHork as tne f~qcre. However. youth culture was predominant. still illustrates fashion todav. soohlsticated Parisians as cartoon-style characters. Illustration poses altered from demure to witty and dynamic. Antonio Lopez's fashion illustrations showed the rebellious attitudes of the generatlon. we see how the baCkprO~. but it was in the hedonisticsixtics that hc truly made his mark. Technological advances introduced plastic. Dagmar had a slmple. discarding styles as they became popular and were taken up by others.esPnrlsic. . the fifties were a time of development and increased affluence. . He was. From Cairo. However. Velcro and Lycra.R~.tnrs cartoon characters from his books became his trademark. creating for illustrators the challenge of representing new synthetic fabrics.nd and f ~ r n i r ~o. This Is a computergenerated fller for the London nightclub Pushca. . hInmp Klraz IS a self. her modest graphic approach distinguishing her from some of her predecessors. who draws gorgeous comic-book girls with character. The emergence of the teenager in the late fifties meant that fashion acquired a younger. soph~stlcated /. and being young. g P oppvsin In the hedonistic slxties. Each season he tried a new illustrative technique. using a wealth of media and techniques. visual decade. His method of illustrating personality as well as fashion has influenced many contemporary illustrators such as Jason Brooks. A self-trained artist. Kiaz.opez. His wide imagination led him to experiment in every possible style using a wealth of media and techniques. carefree and abandoned was the fashionable ideal.1 ' 1 \ 1 1 I SI E N (lc UK. She worked at Vogue for 20 years.. while new artists such as Kiraz and Dagmar arrived on the scene. clear-cut and direct approach to representing fashion. and still is.#L S * THE FIFTIES Following the war. many illustrators from previous decades continued to work in the fifties.trained artist who emerged In the flftles. modern look. he moved to Paris where he drew sexv.

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and was joined by a varlety of new illust~ators influenced by Pop Art and Psychedelia. New ideas were developed by illustrators such as Lorenzo Mattatotti. photography still dominaicd fashion editorials and advertising. whose pen-and-ink drawings coloured with a faint warercolour wash show realistically rendered women. The largc . THE SEVENTIES In the seventies.An iilUStratlon In wstcreolour by Tony Vlramontcr far an aaverrislng campaign for Valentine couture.shoulders and harsh angles of the fashionably dressed were crying out to be drawn by the great . The artist's straightforward technique captures the sexy. seventies-inspired drawings. By the latter part of the seventies a highly finished realism emerged in illustration. however. whose striking images began to make their mark in the fashion world. This is evldent in the work of David Remfrey. Antonio Lopez continued to work. In [he early pal? of the decade. boid women of the era. Mata Gustafson and Tony Viramontes. THE EIGHTIES Th eighties saw the emergence of a style so distinctive it seemed impossible that fashion illustration would not return with a vengeance. illustrations featured dramatic colours and boid patterns. Hemfrey most recently illustrated the successful Stella McCartney advertising campaign with nostalgic.

gemstones and inorganic or organic materials to recreate fashion in the same way that illustrators had previously become more liberal in their choice of artistic materials. Oscar de la Renta. He did so alongside illustrators such as Zoltan. Palmer illustrated for magazines and various advertising campaigns forviviennewestwood. Gladys Perint Palmer and Fernando Botero who were all producing innovative and experimental work. Make-up was expressive. and poses were theatrical( 1 perfect excuse for fashion illustration to creep back into magazines. rounded. Zoltan was one of the &st illustrators to pmduce a series of fashlon images ranging from three-dimensional photo-drawlng montages to collage with found objects. flowers. voluptuous women. The result was a gerles of fashion illustrations featuring large.illustrators of the decade. He used fabrics. A well-known artist in the eighties. kle confronted the view that "fat"can never be "beautiful" by lllustratlng hlgh fashion with dalightful results I this l l l l e e ~ilioto-drawinq lnontaqcs and collaqes of found . Missoni and Est4e Lauder. when asked to capture the French fashion coUections Fernando Botero did not alrer his artistic style. Antonio Lopez once again answered his calling to epitomize the men and women of the time.

bv thc late nlnetles. illustrations of the emerging. calves and feet were missing. Computer-generated images and digital technology in the nineties signified boom-time for illustration. coutu~e-clad supermodcls by the likes of David Downton were splashed across every newspaper and magazine. There were illustrators who created small subcultures with intense fashionable followings: Brooks produced his computer-generated fliers for thc nightclub Pushca.dbovv Graham ROUnthwaite's street k~ds show how. I-lis ads for Levi's were projected onto huge billboards on the sideof buildings-a true sign that illustration was backin town. Graham Rounthwaite. shoulders. liustrators such as Jason Brooks. RlghC The digital age could not be moreclearly outfinedthan by the work of Jason B P O O k s . fashion illustration began to deplct real people rather than focuslng s~iely on the perfection of fashion maaelr. HI5 Purhca Illera became collectables. 1 r I B 3 92 . Moreover. Berlhold created a series of fashion illustrations that challenged previous styles. The viewer's full attention was thus given to the garments Illustrated. He presented cropped illustrations so that the head. Jean-Phiiippe Delhomme and Mats Gustafson spearheaded illustration's comeback. Franqois Berthold. and Rounthwaite created a set of NewYorkstreet kids generated on a Mac. and hls IIlustratlve style Is Instantly recopnixable even when you only see legs and feet! THE NINETIES By the end of the twentieth century fashion illustration was no longer considered the poor relatlon of photography but instead a credible rival to it.

cind what it nzsans to them to be afashlon illustrato~: . liaumatic tenorist events and nal~iral disasters haw encouraged soclecy rw crave the mmfort and safeiy ofthe past. Through a series of questions and answer~. Therr is an increasingdesisire to look back to oldlizfhioned values and explore bygone days. bul the return to safe traditional methods has blauglzt about N new way lo work. Todayk illustrators use established handcmfted techniques such ns drawing. embroidery or collage and mix them with tlzeir digital counterparts lo create a modern medlum. 'The next section provides an in-depth look at a selection ofcontemporayfashion illustratorsfram tlzs twenry-first century. It focuses on their varied use of media nncl examina the way lhey clothe tlae body in art.CONTEMPORARY FASHION ILLUSTRATION SHOWCASE The turn of this century has brought aboul a new world that reflects on the old. Advances in technology willalways improve and develop the artistlc performance qf:fashion Illustrators. how they create their work. lhe illustrators explain what inspirvs them.

Lamb and Patti Smith are always good to work to. Although there is some incredible computer-based work around. even .J. airbrush. what would it be? A good career is made from luck and opportunity. The artworks of Aubrey Beardsley. Leonora Carrington and Dupas. I would say that music is very inspirational when it comes to creating a mood for work: P. or the beautiful Illustrations of Benitot. I would have been perfectly happy to have followed a career in fashion design. What artistic tralning have you undertaken? BTEC National Diploma in General Art and Design at Great Yarmouth College of Art and Design. although it was always quite obvious that fashion illustration was my main interest. My work is very narrative. support and use your work. However. Harvey. Make your illustrations accessible to those who can appreciate. If you could give one piece of advice to a student.RICHARD S RAY What lnsplres you? My inspirations change constantly according to whatever is appropriate to the commission I am currently working on. I am fortunate enough to have made a successful career from something I greatly enjoy doing. to make those dynamics. Are you interested in fashlon? I am very interested in fashion design. To work with them on projects Is always completely inspiring and a real pleasure. Descrlbe yourself and your greatest achievement. pencil. Which media and technlques do you use? i use gouache. whether the ioglc of it is always apparent or not. although it is not confined to fashion by any means. and BA Hons in Fashion at Middlesex University. for you. Fashion is still the main focus of my illustration work. as much as It is from talent. Great fashion designers with real Intuition and true creativity are incredible to work with. My portfolio has a broad range of styles in It. I have never felt It necessary to confine myself to a single style. I am lucky enough to have very creative friends who are kind enough to model for me. I really need to physically draw a pencil line. i ilke to be able to work with spontaneity. inspired by the creativity of a designer's work. rather than something that may appear perfect but is homogeneous. I studied fashlon at Middiesex University and. What. if it means there are mistakes. l much prefer to see the physical creation of artwork. are very lnsplrational. I resolutely do not use the computer to do my work. collage and ink. makes a successful fashion illustration? Something truly reflective of the Illustrator's personality. Describe your work. when I enjoy working in so many different ways. or paint a brushstroke. They are such a catalyst for ambltious creative work. Ert6 and Antonio Lopez. without losing the essence of either.

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and I prefer the colours and use fabric texture. Or people-watching. draw and don't let anyone grind you down. What artistlc training have you undertaken? I was given great encouragement to look and draw at primary school. i aiso occas~onaily and metal. From a cloud to a piece of squashed chewing gum on a Pavement. patterned or textured by their printed. Yes. Which media and technipues do you use9 Paper collage is the source of my creativity. A n you interested in fashlonP What. for you. Describe yourself and your greatest achievement. colour next to coiour. Ifyou could give one piece of advice t o a student. i then worked In television and animation in the UK and the USA before developing my current working style in the UK and Europe. i shade with density of print and create substance and movement with lines plucked from old maps or manuscripts. makes a s u c c ~ s f u l fashion illustration? One that aives a feel of the hero [garment] and hopefully adds movement and visual excitement in its execution. How different garments affect people and their behaviour is also fun. These are coloured. Describe your work. the necessary constant changing is interesting In itself-the way clothes are worn or placed on a body can set one's imagination sprinting. as nothing is actually ruled out. Absolutely anything looked at with an open eye. With these medla i "paint" my collages. wrltten or worn surfaces. This was followed by a fabulous time of discovery and technique learning at Manchester College of Art and Design. Secondary school then added belief in one's ablllty and aiso the first chance to deal with rejection.PETER CLARK What inspires you? Looklng everywhere and at everything! This can fire one's imaqlnation. i use a comprehens~ve collection of found papers as my palette In my collages. My pieces try to use mark-making In an innovative and humorous way to create a collection of clothing that exudes character and wit. Be patienbl'm not there yet1 . what would it be3 Look. I prefer to use old paper because of the way that It can be manipulated.

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but overall it should just be an arresting image. Without this experience. so It's natural for me. It's really like building a collage and then painting over it. but artistically it's important to keep pushing forward and' developing. texture. From a drawing standpoint. Describe your work. in my work there's definitely an element of each of these. otherwise your work just becomes stagnant. When my eyes are open. so really I came into illustration from a fashion perspective. Are you Interested in fashion? My roots are in fashion. photos. Three years in Fashion Design at the Kent institute of Art and Design. by nature. my work is a meltlng pot and it's always interesting to see the outcome of all these different influences. magazine tearsheets and fabric. sample and scrap. for you. If you could give one piece of advice to a student. to think In the same way. What artistic training have you undertaken? One year in Fine Art at Nene College. make you want to tear it out of a magazine. of intricate patterns and very graphic composltlons. It's easy to get imprlsoned by your own style. it's much easier to illustrate something when you understand it. . so hopefully I haven't yet reached my greatest ach~evement. don't give yourself any boundaries. I've always loved the beauty and delicacy of Art Nouveau and. It's an amaigamatlon of things. CO~OUT. I'm always restless and always searchirfg for a new solution. say how certain fabrics behave or how a garment would drape or fit. It's a very colourful world we live in. Which media and techniques do you use? Predominantly Photoshop along with pencil. capture a period in time. in the end. Dewdbe yourself and your greatest achievement. of how you can brlng opposites together and create something new. anything is up for grabs. or give you a sense of style. paper. l studied fashion design for three years and worked as a designer for seven. make8 a successful fashion Illustration? The same thing that makes any Illustration successful-it should make you stop. I'm always looking for something new. nature and ornamentation all play a part. Basically anything I can scan in.REBECCA ANTONIOU What inspires you? An eclectic mix of "good stuff". is always about the future and looking ahead. I ilke to throw a lot of elements into my work. What. it should evoke a mood. the boldness of Constructlvlsm. I've got a lot more that I want to do. Fashion. The wonderful thing about illustration is that there really are no boundarles. something different. at the other end of the spectrum. The computer enables me to sample a lot 01things visually. Northamptonshire. as an illustrator. With fashion illustration you definitely have to be a little bit of a stylist too.what would it be? To not hold back. I don't think my work would be anything like it is today.

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Describe yourself andyour~reatest achievement. Are you interested i nfashion? Not really. photoqraphy. . t h e Netherlands). Whlch media and techniques do you use? Collage. wit. i search for a solution in which composition. makes a successful fashion illustration'# The overall Illustration has to add something to the clothes without getting in the way of the fashlon. what would i t be? Never foiiow anything. it's in you. styling. ~pe~lail2ing in Illustration and Photography. that would be my greatest achievement. not necessarily in that order. It should tell a story and add atmosphere. m a t artistic training have you undertaken? Art school (Minerva Academy of Fine Art and Design. whatever you grasp for. drawing and computer. If I could describe myself. Descrlbe your work. I think my illustration work has more to do with style and graphics than with fashion.for you. insight and a strong point of view. You must have love. If you could give one piece of advice t o astudent. colours and graphics and so on are in perfect balance with each other and create a sort of tension. and do what ypu belleve in.ROBERT WAGT What Inspires you? Life. What.

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whatever you like. makes a successful fashion illustration? Work that possesses elegant beauty that can capture the viewer's eye. I occasionally use watercoiour penc~ls and markers. .4) and coioured ink. It is when I see beautiful and interesting forms that ideas start pouring out.g you undertaken? . Are you interested In fsshion? Yes. I went on t o work at an advertising production firm before iaunqhinq my freelance career. Low-key and generally at peece-i have the ability to be absorbed entlrely by what I am doinq. Desertbe your work. without lnhib1tion. My greatest achievement would be ail the wonderful friends I met during my college years. When I illustrate. The harmony of line. boldness. Which media and techniques do you use? I use watercolour paper (HP) and brushes. If you could give one piece of advice to astudent.3 and 0. a playful spirit-that merge and coexist happily and comfortably with each other. then scan all the artwork into my Mac to create a composite image.What lnsplres you? Anythlnq and everything that enters my daily field of vision. for you. 3 E Y What.what would it be? Just keep on drawing. BA Hons in Graphic Design from Lewis and Clark College in Portland (USA). g < Y a = m a t afiistic tr.. For my llne drawings I use water-based pens (0.That is how you will eventually come across your own artlstlc voice and stvie. Describe yourself and your greatest achievement. I want each work to have different eiements-such as elegance. I create the lines and colours separately by hand. colour and space. j z # a 1 .

but plck up a brush and start palntlng. And you realize. What artistic training have you undertaken? Majored in Art History at Queen's University in Kingston. And all that has happened in less than three years. whlch is now sold across the USA and Canada. Describe your work. circular shapes. Also. mat. decoration in everyday uses. In the end. so that i convey a feeling of energy. if I work too much at one image I lose this. I took additional courses in silkscreen fabrlc printlng at the Fashion Institute of Technology In New York. I never knew you could do so many things simultaneously: Illustrate. Canada. I love texture and pattern so try to incorporate these. that your life becomes integrated and whole when your creativity Is allowed to express itself In many ways. slightly old-fashloned (I always add red lipstick and nail polish). Stephanie Pesakoff of Art Department: and I started designing a collection of resort clothing wlth my textiles. Majored In Fashion Design at Parson's School of Design in New York. fun. spirited. what would it be? To hold true to your own style and do what you really love to do. doors will open for you in dlrectlons you never dreamed of. Which media and techniques do you use? Watercolour. I found a great agent. i didn't know illustration as a career existed. and Ilowers. elegant. makes a successful fushlon lllustratlon? An illustration should be able to transport you and make you feel a bit of magic. I have participated in varlous stitching and qulltlng workshops at Sheridan College in Oakville. women with confidence. design textiles. interned at Marc Jacobs and Marie Clalre magazine in New York. and thought that perhaps the best years of my fashion career were over. for you. If y o u could glve one piece o f advice t o astudent. I started illustrating for Kate Spade. I had no clue what I was going to do. and there are plenty of careers and opportunities that you don't learn g A 3 2 = 103 g f I like my illustrations to read "fresh" and "spontaneous". another era or mood. eventually working on three books wlth them (Occmions. It should make one dream. deslgn clothes. My blggest achievement was leaving my job as a design assistant and starting my own buslness. in school you are taught to focus on one thing. as a creative person. texture and rhythm In nature. Are you interested Infashion? Very much--1 am also a textile designer and clothing designer. and a sense of excitement and anticipation.VIRGINIA JOHNSON What inspires you? colour. Style and Manners). I don't plan out my drawings. Spontaneous. about until you're out there in the real world. Describe yourself and your greatear achievement. There should be a sense of another tlrne and place. This way your happiness and success are guaranteed. I could not have imaplned that the best years lay just around the corner. if you stick with what you love. Canada. Often the distinction between my illustrations and textlles blur: they come from the same place and inspire each other. Designed shoes and bags for Helmut Lanq also in New York. but it is now my greatest asset. Ontario. and my illustration teacher told me my drawings were not acceptable because they were far too loose and unflnished. I didn't--and couldn't--change the style. Ontario. .

laziness my motor. I love women for what they stand for. The beauty of a woman to me is closely connected with the fruit. I'm all of a sudden giving advice to other students. Nothing more. cheek-brushing eyelashes. Beauty doomed to rot. There are many ways of drawing a shoulderline. fulfilling journey. the stroke. Although there's no thin line between flourishing and decaying. I'm desperately trying to save what there is left to save. In real life. makes asuccessful fashion illustcadonl The lines have to leei good. Something that conforms to the Dutch tradition of stiii. But I'm more interested in the end product than the mere garment or accessory itself. good.VINCENT BAKKUM What inspires you? I'm in love with the "object" woman. Two more sources of inspiration are the hidden sensuality and thlck outlines of the Art Nouveau artlst Aiphonse Mucha and the strong contrasts of the gentle black-and-white photography of the sixties. Describe your work. Steal as much as you like from your artistic ~dols. nothing less. and therefore ere. dead fish and stuffed blrds I also enjoy painting-death and decay is another undeniable source of inspiration. The brush. I still try to catch that moment. the tlttlng of a skirt. that can make fashion exciting and interesting. the ilghtfali on her calves. What. models. Are you interested in fashion? Fashion as an art form. I did modelling for about 15 years and gathered a lot of inspiration by being part of the scene and going through the magazines. i once in a while llke to enrich my paintings wlth these symbols. etc.. and I'm stuck with Roman Catholic roots and a coquettish interest in the symbolic circus. or the necklace over a collarbone. but there are only a couple that feel. A fashion illustration is the depiction of a mere split second that you must experience In the Iliustratlon. I trust my instincts and my sense of beauty. makesup artists. If you could give one piece of advice t o a student. the paint have to do the talking. I fall for her outlines. People llke Gruau and Mucha and Warhol have been my unpald tutors. The person behind the "object" leaves me uninspired. but in depicting them on canvas they are reduced to colourful graphlc Images only. her bone structure. Man. the knuckles of lonq slender fingers. Colourful graphic images of the female. In the long run you will build up your own style anyway. fish. pitchblack. what would i t bet Stay true to yourself. Beauty is my goal. It is the collsborat~on of stylists. Describe yourself and your greatest achievement. fruit and the feast of life. fowl. One could almost call my art a hybrld child of both art forms and periods.. Still a student myself. her graphic qualities.life painting.. Is followed by me. You have t o start with what history has left you with. hopefully. What artistic training have you undertaken? I haven't got any decent schooling. footwear. It has been a lonely search for beauty In my studio without any authorized guidance. for you. illustrators. the shadows under nose and lips. Colours bound to fade away. David Bailey's and Alphonse Mucha's delirious baby. Since death is also a source of inspiration for religion. A ripe and blossoming apple is already decaying. Just e starting point for a long and. photographers. Eternal students we are . If I could be a bit harder on myself1 I belleve the invitation to be interviewed for this book is one of my greatest achievements. as a way of enhancing female beauty. I guess. . Which media and techniques do you use? Acrylic on canvas or plywood.

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When It's ail traced.. what would It be? I'm not good at advice. . clnema. Which media and techniques do you use? It's a whole process. Describe your work. able to keep the essence of beauty and grace that for me defines fashion illustration through the ages. 1 prefer other people to describe it. I'm a lonesome worker. very proud of making a living by doing what i love most.CARMEN GARCIA HUERTA What inspires you? Everything: people In the street. .. I'm probably as lost as anybody else. At this point I choose the colours too (which is the best part of working with a computer: you can change and undo or redo as much as you want. art of ail centuries and cultures. keep the feeling you had while playing alone when you were a child. my friends. skin effects Descrlbe yourself and your greatest achievement. where I do the final touch: volumes. What. . Or at least I try to1 If you could glve one piece of advice to a student. for you. In fact. pay attention to the trends but not too much. It's a personal mix between machine and handmade work that i like to achleve. newness. makes asuccessful fashion illustration? Basically. I open the file in Illustrator and trace over the pencil drawlng. but I like to think that. I draw a sketch on paper with a pencil.. fashion photography is my biggest source of inspiratlon. First. then I scan it. travelling. I export to Photoshop. at the same time. Are you Interested in fashion? Sure. And that's all. like a game). i get some kind of warmth and human touch in the expressions. While studying at the university. lights. though I work mostly with a computer. I took a course in graphic design at an academy too. but it was not much of an artistic tralnlng I took some lessons in classical drawing at a small academy for a few months.. But you must try to enjoy what you do. which normally makes figures look too correct and cold. Something never done before but. fashion magazines. work from passion. What artistic training have you undertaken? Advertising at Universidad Complutense da Madrid (Spain).

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AYAKO MACHIDA

What inspires you?
Everything from my daily life--television, magazines, music, people on the streets, travels, etc. I Often find hlnts and inspirations in conversations with friends, then proceed t o expand on the situational Imagery.

If you could give one piece of advice to a srudent, what would it be? As much as it Is important to create what your heart desires, It is also important to create something orlginal with the intention that It will be used and viewed by the public.

Are you interested in fashion? Moderately. I do admire fashionable
people, but don't qulte have the sensibility to apply It to my own wardrobe-so I am mainly on the observing end.

Descrlbe yourself and your greatest achievement.
Mild and easygoing. I am most proud that I have fulfilled my wish of making illustration a profession, and that I have found something that 1 would like to do for a long time.

Describe your work.
i don't feel that my artistic style is incredibly unique, but I do value the playful situations and subtle touch of humour in my works.

Which media and techniques do you use?
I draw sketches by hand, then scan them into my Mac to add colour with Photoshop.

What, for you, makes a succetisful fashion illustration?
Something that has flavour, an edge, a "smellw-that's what I aspire to create, as it's too boring to be merely cute or stylish.

What artistic training have you undertaken?
Upon graduation from an art school in Saga, Japan, i worked at several design firms as design assistant. I started illustrating around 1996, and started receiving asslgnments around 1997. Now I continue to take commercial commissions while working on original projects and exhibitions.

TINA BERNING

What Insplrcs you? The beauty Of life, however it comes by.
Are you interested In fashion? As a very tail person--always hopeless at findlng long-enough clothes-i started sewing my own things very early, so I got interested In brands only very lately, actually not before my first feshlonlob, in 1999. I was always lnterestecl In wearing nice things but never really followed the trends that closely.

If you could glve one piece of advice to a student, what would It be? Be patient, explore, allow yourself to make mistakes, and do it all over again. It's the only tlme you can do that wlthout getting into trouble. And go study In a different country. I never did and I regret that. Describe yourself and your greatest achievement. I never ask what could please the ci~ent, but do what pleases me. Thls often makes me do more than what Is needed but also keeps the quality of my work high. I am thankful for the patience I have, no matter how late It is.

Descrfbe your work. I love to have a variety, That goes from fashion spreads, through to essays on social themes to advertising jobs for car companies. Each theme deserves its own solution, and I love the challenge of finding the right solution every day. Whlch medla and techniques do you use? I experiment with techniques, mix them up and see what's happening. Most times it is watercolour, ink, bail pen and a proper amount of Photoshop. What, for you, makes asuccessful fashion illustration? Style and Information. With a drawing you can be very informatlve on textures, fittings, cuts, etc., but it would be nothing without a good style, and vice verse. What artistic training have you undertaken? After working for s German painter for two years, I started studying graphics. focusing on illustration, In Nuremberq. While studying, I worked for the music industry and spent one year at a magazine as a graphic designer before I decided to quit pushing letters around and do what I love most: Illustration.

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they are inextricably ilnked for me. what would i t be? Find things out for yourself. I am inspired by the need to learn and think. Don't view your dlsclpline In a vacuum. and that determines my approach stylistically. so hopefully I will have more to achieve in the future. It's not about the designer or their brand. . homemade and handmade Items. fashion is not the emphasis but could be the application. l guess it's all relevant to certain tlmes and circumstances. mattresses on the street. processes or people). etc. craft techniques. In my lilustratlon and personal work. What tends to happen is a response to a process. Arte Povera. paper. moved to London to work as an assistant to a fashion label. is hopefully not contrived. find out about their techniques and how you can adopt them for yourself. buttons. after graduating. whlch. story. from electronic components to pieces from broken ceramic mugs. I don't really think I have a greatest achievement. Incorporate found ephemera. My inspiration often comes from mlstakes or from having to "make do". whlch is probably the most interesting quality for me. because you really can do anything you want to do at thls point in your career. I use a lot of thread and yarn. and this helps me to develop my work. In fact. I trained as a textile designer and. I try to use It in the same way that I store itin a non-precious yet still organized way. chalrs. although they can sometimes be very separate and seen in different contexts. or things that are out of place or out of context: bad DIY. fabric. I also work as a design consultant wlthin the fashion Industry. for you. I try to find out about new thlngs (techniques. Another tough onel I say this because I feel there are a few strands to what I do and.I feel that I'm only just scratching the surface. artwork or print. A lot of it is about cut and paste.MARIE O'CONNOR What inspires you? That is a very tough question1 It's always changing. can re4nform the concept of the piece. I f you could give one piece o f advice to a student. whlle being considered. This gives the tactility. Are you interested in fashlon? Which media and techniques d o you use? My illustration work is primarily collagebased and I'm Influenced by my training in textiles. Describe your work. What. but also ask questions. What artktic training have you undertaken? BA Hons in Embroidered and Woven Textiles from Clasgow School of Art. but letting the clothes and the execution of the image evoke a mood or create a completely different environment. the Idea of construction and the meeting of low-f~ and hl. in turn. moving things around and assembling in a way that. Yes. experience other subjects. makes a successful fashion Illustratlonl Something that inspires and that can be odd or beautiful. broken spectacles with tape. I look out for interesting surface qualities and also use smaller objects. but I think I am more Interested In the idea of clothing than the fashion arena itself. Deecrlbe yourself andyour greatest achievement. Be true to yourself and try to enjoy being a student. and odds and ends create a senrlbllity. as a technique but also as an aesthetic. It Is very much about puttlng thlngs together in a temporary way.fl working methods. along with exploring the relationship between things in two dimenslons and three dimensions-flatness and fullness. stitch by hand and machine. I keep things on my desk and In a serles of boxes. and any blts and bobs that take my fancy really. and I think that still being excited by the prospect of creating artwork is quite an achiev@ment. Found materials.

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inks. What artlstlc training have you undertaken? When I was ten. My earliest goal. and I've srnce worked with them many times over the course of the past decade. I think developing your own style and not conforming to the masses is the best lesson one can have. Including high school and college. makes a successful fashion illustration? An image that grabs your attention and holds it. charcoal and various papers along wlth my Apple Mac and Adobe Photoshop-depending on the ass~gnment. Also. my brother taught me to use watercolours. It was a great honour to be a part of what they were working on. The other publlcation I was longing to be a part of was Visionairv. It often gets described as "ethereal". I've had several goals throughout my career. and my father showed me the best technique for colouring in maps for my school projects. However. and that Is when I reallzed how much I loved to illustrate fashion. Are you interested in fashlon? Yes. What. During my college years. Express Men's and Banana Republic.KAREEM ILlYA What lnsplres you? Everything. and I was fortunate enough for my work to be In several of the early Issues. but in particular the space I live in and the nature that surrounds it. Whlch media and techniques do you use? Watercolours. Describe your work. IF you could glve one piece o f advice to a student. I also took various art courses throughout my education. for you. . I was kicked out of my fashlon ~llustration class in college because I refused to draw In the manner my professor requested. 1 think I usually aim tor something graphic and yet soft and beautiful. Describe yourself and your greatest achievement. l was bored to death and let her know. my degree in fashion design focused my attention on selling my design ideas via my Illustrations. The day they gave me a call to work with them was one of the best. follow your passion rather than what is expected of you. was to be publlshed in W Magazine(it was a publication I had followed since precollege days and throughout my career as a designer). I became a collector. what wouldlt be? Well. pastels. in fact for many years while illustrating I was also worklng as a menswear designer for various companies including A/X Armani Exchange. From the moment the first issue was published. making you wish for more. I may or may not involve any computer manipulation. in my early twenties.

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Have as much life experience as possible outside of art. so I have a lot of American art and cultural influences. with a western influence. I treat Photoshop as a computer-generated silk-screen processing machine. where concept is as important as. for me. worked in corporate Japan for 1 I went back t o art school-School of Visual Arts (SVA). then switched over to MFA Illustration as Visual Essay at SVA. Creating drawings makes me alive. I was never trained in fashion anyway. if i can make an Image that reflects some kind of fashion or trend. . for you. After I had 1 years. The whole experience makes me who i am. Of course I have favourite artlsts. If you could give one piece of advice to astudent. New York. as well as a concept or narrative with my personal voice in it. What artistic training have you undertaken? My undergraduate degree was in advertising and marketing. Which medla and techniques do you use? I draw on paper with black indla ink and Japanese or Chinese bamboo brushes. I did my first and second year in BFA Illustration. I part~ally up in the USA and also came back later on to finish art school here. that is a successful Illustration. or more Important than the style of your drawing. Your work has to have your personal voice. Describe yourself and your greatest achievement. but they are only a small part of my inspiration. Describe your work My work is somewhere in between Japanese woodblock prints and manga. that was how I grew up. You should not work in a field you are not interested in. everyone whom I've encountered: my family. makes a successful fashion lllumation? I am not so much interested in the traditional terms of fashion illustration. My background is lilustration and fine art.YUKO SHIMIZ'U' What inspires you? Basically. grew Although Iam from Japan. meaning accurately drawing the texture and design of clothing. l make your work That w ~ lultimately more interesting. Now I teach BFA Illustration and Cartooning at SVA. but never copy other people's work. people I like or don't like-these are all my inspirations. Are you interested In fashion? Of course. friends. The greatest achievement Is yet to come. What.what would it be? Being influenced IS fine. So. Baslcaily. everything I've experienced in my life. and that lets me do the work I do. I then scan the drawing in and coiour it with Adobe Photoshop. What is most important is that your work reflects who you are. You should become an artist because no one has created what you want to create. I started drawing and copying manga when i was little and got blown away by Hokusai and other woodblock artists when I got a little older.

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makes a successful fashion Illustration? A successful illustration varies from job to job. Mlchel Gondry. I learnt very llttle about the business and client slde of things while at university. each individual stencil is printed out on thin card. . A3 printer. scalpel. Illustrator. from obscure food packaging to film and gallery visits. Spike Jonte. spray paint. 110 illustrations for Maverick Records in two weeks. strong use of coiour and considered media. Traditional painting mixed with the flexibility and approach of modern techniques and technology. as many say: "know your market and the market you don't know". The three years a time to develop studying was essent~aily a style I was happy with and that could be taken forward into something that would be commissioned. what would it be? Even if others doubt what you do. What artlstlc valnlng have you undertaken? BTEC National Diploma in Foundation Studies and BA Hons in illustration. scanned back into Photoshop. Mike Mills. the majority of my education within the field of illustration has been developed over a period of time since graduating. not Just In your particular field of expertise but also within the arts in general. If you achieve everything the client asked you to do then. Descrlbe your work. These are scanned and manipulated in Photoshop. Whlch media and technlques do you use? Apple Powerbook. University of Brighton. though. If you could glve one plece o f advice to a student. Black Convoy. What. Montana Gold Spray paints. Ail sorts of things can Inform your work. early Cuban posters. for me. Peepshow lllustratlon Collectlve. cut. sprayed. Saul Bass. Shynola. always go with what you believe In and work hard to prove them wrong. for you. but enables me to have complete control over every element you see. street-inspired. Photoshop. You can't beat actually going out there and learning from the mistakes you make whllst trying to make It as a freelance illustrator. It's Important to keep your eye on fashion trends as a freelance individual. These include a balanced composition. meeting clients. then the spray stencils are created in illustrator. and the picture is reconstructed with layers and heavy colour manipulation. tape. Are you interested in fashlont I thlnk It's very importent t o see what Is happening around you. scissors. It's a very long process. It's portraltbased iilustratlon. working on commissions. fuse wire. scanner. I've completed everything I set out to achieve. eariy mo wax sleeves. paper. Everything i do Is based on photographs. Johnny Cash. but certain things must be considered and should be apparent in everything you do. To be honest. Descrlbe yourself and your greatest achievement. Warhol. etc.MILES DONOVAN What inspires you? New York. Basquiat.

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I'm crazy about patterns. Which media and techniques do you use? I'm addicted to Rotring pens. past and present. although I have started to use found objects and create more layered work these davs. I don't read any current fashion magazines but prefer to look at old ones. MA In Communication. the better. I have suitcases full of stuff other people throw away. wish I'd done that!" What artlstic training have you undertaken? 8A Hons in Graphic Design at Central Saint Martins. "Wow. not a motorbike. for you. One day ail these things will make their way into my drawings. especially as I'd torn a ligament trying to learn the first time and had a fear of cycling. sanitary towei bags. I always start by drawing. Art and Desiqn at the Royal College of Art. . makes a successful fashion lllustratlon? Something that makes me think. what would it be? Appreciate the library: a whole worid. It was hard. Is waiting to inspire you there. I'll be ready for them then! I also find what my friends wear very inspiring. ~ wrappers. I often use type. I remember the first time I cycled to work and feeling so exhilarated. Are you interested in fashion? I am Interested in personal style rather than fashion. London. slightly hunchbacked1 Generally of a happy disposition apart from winter when i go a bit weird. but occasionally to express ideas. My work is very detailed and decorative. I love drawing them. often as a decorative tool. and shoes. My work is primarily about the quality of line. London. Describe your work. Old milk cartons. My greatest achievement Is learning how to ride a bike at age 28--and that's a pushbike I'm talking about. Indian S W . the more baroque and swirly. Describe yourself and your greatest achievement? Smaii and brown. Maybe I'll look at contemporary fashions In ten years' time. Somehow i find them more interesting. Even If illustrations end up being coilaqed with found objects and composed in Photoshop. torn pieces of waii~auer. If you could give one piece of advice to a student.NINA C H A K R A BA R T 1 What inspires you? Junk inspires me. Also. What.

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and i think It's healthy to acknowledge that fact. design history (especially the seventies). shading or coloured outlines instead of solid black ones. I love music. I love my work-i couldn't think of any work field that would suit me better and could make me happier. Also. Two years ago. The university in Sydney (UTS) was quite the o p p o s i t e the focus was on the idea. I worked in smaller design agencies for a while. My greatest achievement7 Has yet to be achieved. it's the best thing manklnd has ever Invented. in Wiesbaden (Germany) with two semesters at the University of Technology (UTS). then scan my drawings and do everything else on computer. I'm a graphic designerliliustrator. both personally and professionally. in Wiesbaden. along with flying. while at thesame time you get in touch with your own country's mentality and become more aware of it. In Sydney. I've had some of my work published in magazines and books. meeting the client. the creative process. I am now comfortable and well dressedrather than loud and outrageous. This had an immense impact on me. what would It be? Do go and study in a different country for a while. Is also Inspiring. for you. This contrast is inspiring. What artistic trdning have you undertaken? Diploma in Communication Design at the Fachhochschule. What. becoming self. I Describe yourself and your greatest achievement. iivlng in a foreign country broadens your horizon immensely. where I studied is very industryorientated. So take my advice and take on the challenge-it will pay off. but in between it's important to try out new techniaues. because at an early stage students get to know how the Industry works: timings. I think. Are you interested in fashion? Yes. I think a fashlon Illustration is more a piece of work than a piece of art-so it should be less about the self-expression of the iilustrator. That's good. I guess. The Fachhochschule. and I always find it very exciting. very pretty. I've been using this technique for a while now. You can be In ten different parts of the city and feel like you are in ten different cities. Dealing with a different mentality IS fascinat~ng. employed.thlnklngperson1 Which medla and techniques do you use? i draw by hand. At the same time. Then I look at my older ~llustratlons and think "I should always have been using coloured outlines" If you could give one piece of advice to a student. presenting work. It has improved over the years and still does. I moved to Beriln. And Berlin-it's such a vibrant city with so many contradictions. i work with Adobe Illustrator and Photoshop. There are a lot of creative people In Berlin. Australla. There are just too many exhibitions to see-insplration Is interdisciplinary. Its aim is always to please the viewer. There Is a lot more to ilfe. You start to adapt to parts of it. which. etc. I'm very much interested in fashionbut I'm not a fashion victim anymore. My urge to be fashionable was deflniteiy stronger in my twenties than today. i still follow trends but not every singleone. . My work is mostly very brlght and coiourful. people. But i think my greatest achievement so far is staying a pos~tive. After i finlshed my studies. i don't take It too seriously. makes a successful fashion illustratlont It should give you some information about the garments or a feellng of what they are ihke. Describe your work. although it means stiff competition. Every once in a while i come up with a different way of doing something-for exampie. everyday things. It is very "pop".MATTHIAS FREY What inspires you? Ail kinds of music. I don't like designers who can only think and speak about deslgn.

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I'm Belgian. ranging from a specific subject to images that come from reading a novel. The choice of stitches is wide. but am educated in dance (ballet. I choose relatives. living in Brussels. wonderful and del~cate that it motivated me to give embroidery a try. for you. contemporary and modern jazz dance). Describe your work. that touched me and that remain with me. After that.. I started by teaching myself. the accessories. but I appreciate the working part of fashion: the patterns. . They were so modern. there was a remnant of fear when I needed to do alterations or other needlework. Are you interested In fashion7 I'm not a fashion addict. but then using the sewing machine alone was a stressful experience. the details of the realizations. mainly at the opera. makes a successful fashion Illustration? A skilful blending of elegance and legibility. If you could give one piece of advice to a student. the fabrics. When i was a teenager.AMELYNK What inspires you? My inspiration varies. Describe yourself and your greatest achievement. I guess my greatest achievement will be the next one. I started mak~ng clothes with the help of my mother. after being obstructed in adolescence. of Korean origin. . I have completed a preparatory year in interior design and short courses in professional make-up and video. Coming to embroidery has been a slow journey. I fix the rough with an iron and place the piece of fabric on a little circular frame. For portraits. Either I draw directly onto the fabric or 1 transfer the main lines with carbon paper. As I was used t o handsewing.. Later on. +- U g What. I use Cotton threads. It can be from scenes on Stage. Contemporary hand embroidery. but I mainly use straight stitch. I studied make-up and used to work for theatres. The idea of contemporary embroidery came when I saw some embroidery pleces. Which media and techniques do you use? 124 B yC 5 The technique is traditional. I always chose t o hand-sew. famous people I like. etc. * 4 a [ r What artistic training have you undertaken? I have no real training in illustration. or people with some distinctive feature. or in life. what would It be? Explore your dreams.

Late-nlght movies. what would it be? Cherish what vou love. Describe your work. I love to incorporate details and elements Inspired by foreign cultures into my work. in 1999. Are you interested in fashion? Yes. It's hard not to observe unique and styllsh people on thestreets. an art school In Tokyo. makes a successful Fashlon lilusuariont Whether It grabs me or not. but am actually shy. My greatest achievement would be giving birth to my son.l entored and won the Chance Competition Award hosted by my current agent.YUKI HATORl What inspires you? people and clties. 1 often come across as energetic and outgoing. What. If you could give one piece of advice to s student. but the women I Illustrate are the qulntessential Japanese women-modest. Describe yourself and your greatest achievement. Shortly after. . Which media and techniques do you use? 1 draw by hand. What artistlc training have you undertaken? I graduated from Setsu Mode Seminar. shy and ethereal. for you. then work In Photoshop on my Mac. Japan. I've never really thought about what makes it successful per se.

always look further. Each element participates In the elaboration of the image and has a reason for being there. I can appreciate a beautiful pair of shoes. for you. but what people wear Is not what interests me most when I meet them. Which mediaand techniques do you use? I use my own photography and drawings. what would it be? It is crucial to be open and learn as much as you can. I also cut out images from magazines and books. abandoned places. rather than become a prisoner of that same style fromfear that clients won't follow if I change. I then bring the whole image together in Photoshop. weird objects and creatures. the image Is a reflection of how these objects actually create the world around them.MARION LEFEBVRE What insplres you? God knows! That inspiration thlng has a life of its own I'm inspired by architecture: soulful. Describe your work. along with a nice detail that brings it all to life. which then dictates the choice of the format. Ialso have a BA Hons In illustration.. don't be afraid t o experiment with new styles. my work has changed. or the opposite. Recently. or tells a story. Creation Is mostly about reinvention.. As an Image-maker. i tend to create Images with an atmosphere-they always contain the embryo of a story. What artistic training have you undertaken? i studied Fine Art for five years at L'tcole Nationale Superleure des Beaux Arts in France. If you're manaqlng to stay true to your creative self. My qreatest achievement is always aheedl I guess that describes me as an optimist1 Through my career as an illustrator. I find history of art very important as even the most cuttlng-edge style has sources that can be traced. that's a great achievement. but 1 find this very alienating. a great achievement Is not who you've worked for or how many people have seen your work. as well as Multimedia in a photography school in France. which mainly focuses on characters. which I took at the Kent Institute of Art and Design. In mv eyes. I want to keep exploring my skills and feel free togive up a style when I become bored of it. an image If you could give one piece o f advlce to a student. abstract shapes. In this last case. and. my style has changed a lot. Personally. Be open. or scan objects. It is either an image that works for a fashion elementa piece of cloth. that works with the element. makes a successful fashion illustration? it's an image that epltomlzes the spirit of the clothes it portrays. Shoes are great tool In real life. It is said to be easier if you stick to a commercial style that you can be recognized for. subtle colours. at the moment. the design of a plece of cloth or its texture. A m you interested i n fashion? I like understated fashion. I always start from the character. diagrams of ail sorts. But it's just as important to forget It all at one point and to find your own way1 Be curious of what others do and of what others have done before. It can also be that it just works by showing the clothes in the best light. l 11kesubtle colours. . so be prepared to develop your commercial skills1 Descrlbeyourself and your greatest achievement. Get real. Composition is a major aspect of my work. the background elements and the style of the image. What. Artists who make It are also very good at promotlng themselves. I'm Interested in the way fashion editorlais or campaigns are art-directed and in what they reveal of the society we live in. I now use more drawing. shoes or an accessorythat 1 s brought out and made to look outstanding. .

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What artistic training have you undertaken? Fashion lllustratlon at the Fashion institute of Technology. Then i apply Pantone transparency film In various coiours and gradations with a straight. nature. New York. Describeyour work My work is ultimately about connecting to the universally Innate beauty In ail of us. liberation and pure creativity with these guys. I have learned humility. it's the same process. "Yellow Submarine". When I have an assignment for a fashion company. . and a lot of drawings get thrown away until i get to where I need to be. They remind me again and again of how far. If you could give one plece of advice to a student. Ana Ishikawa. it's all about great beauty.. while what is necessary remains apparent. places and things uplifting t o me music. Whlch medla and techniques do you use? I almost always start off with a completely direct sumi-ink drawing. . I think my greatest achievement has been that I have maintained my artistic integrity and Independence throughout the years In a field that has evolved relatively slowly. I never do a rough sketch or any type of underdrawlng. what w u l d it be? Be yourself. Gertrude Stretton and Dorothy Loverro. realized beings.. makes asuccessful fashion illustration? A successful fashion drawing illustrates a gorgeous woman In ciothlng. meditation. I have learned what makes a solid and inspired story from the likes of Steven Melsel. Fashion visionaries such as Alexander McQueen. Other instructors included Jack Potter. There is much left to the imagination. My primary mentor was Barbara Pearlman. Do whatever it takes to find out what that is. She is supremely elegant without a sense of comparison to a model per se. Find your unique purpose. inwardly and outwardly. Rei Kawakubo and Yohji Yamamoto have Influenced me a great deal as well. Paoio Roversi and Cralg McDean. Are you interested In fashlon? Yes.. Descrlbeyourself and your greatest achievement. for you. in a way that a photograph cannot. a successful fashion illustrator from the sixties and seventies who went on to have a career In fine art. Quailty of line and composition is everything. edge razor blade.TOBIE GlDDlO What inspires you? People. I do my best to stay out of the way in order to allow these somewhat faraway beings to emerge onto the page. A successful fashion illustration brings the viewer a pure sense of delight and pleasure. I am very focused on the structure and balance of a drawing. true creators Agnes Martin. What. .. Tori Amos. Fashion photography has greatly influenced me over the years. except i know what they will be wearing. London. beautlfui clothing. I can take things. perseverance and faith in the process. ThEs product was discontinued years ago and so i am continually searching for what I need. It bothers me to see drawings that are lacking in the knowledge of anatomy.

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it Is infinite. since it llnks directly to investigation and. including the radio. My work is based on the study of forms and technique. for you. mine are commercial works. In every case a fashion always returns. and it allows you to cross into artistic exaggeration. my son. mix and propose. etc. But many other things inspire me similarly-my friends.EDGARDO CAROSIA What inspires you? Really. If you could glve one pieceof advice to a student. the friends of my friends. since i did a university course not in illustration but in chemistry1 From this comes my interest in collage--the mixture and investigation. cuts.giass windows) of the models that parade on the runway. . The curiosity and Investigation that go into my work are the things that define me as an author and illustrator. In general. what would it be? What i can tell students is what I apply to myself: value curiosity as an indispensable tool. to technique. vague and redrawn. What. line and style. commercial iilustration. comic strip. Although that sounds a clich8. Being able to work doing what I enjoy Is what I value most. animation. to the textures and colours of the ciothes (like stained. Describe yourwork. etc. It is drawing as artistic expression that has always attracted me since I was very small. Thls is what inspires me in my less-commercial works. although rt seems that fashion always returns and Is a constant recycling process. books. makes a successful fashion illustration? The freedom of techniques that can be used in fashion illustration attracts me. I flnd inspiration in everything that surrounds me. newspapers. it Is the ilne and coiours that prevali. pencils. In my case. What artistic training have you undertaken? i have done ail kinds of workshops linked to Illustration. painting. humorous drawing. Are you interested in fashion acrylic. I am very curlous and investigate all the time. politics. the street. magazines. the sea that we see through the window. the festivals. mixing techniques at the same time. I suppose. the people that pass along the street. which 1 enjoy a lot. This work is what carries me forwards to discover in myself dlfferent styles every time. lnsp~ration is constant for me. from there. by assignment for newspapers. There Is so much that corresponds to fashion and aesthetics. movies. pushing my own limitations. Yes-from the types of clothes i buy for myself. music. but I enjoy the illustrations of those that present different ideas and styles. Fashion interests me as an area of perpetual investigation. drawing by PC. it is true. The scanner and the PC are the common denominators that help me to amalgamate everything. Working for different types of magazines and periodicals. almost routlne and always traps me into working. publicity and design. Therefore. as I am attracted to different techniques. Describing my work is a little difficult. television. clothes and PC-+ lot of PC. but I am basically seiftaught. I have trled to take classes in drawing. but redefined. One can experrment. urbanlsm. their inclinations and customs. Which medla and techniques do you use? The media that I utilize is everything that I find appropriate for each situation: ink. the parties. causes me to carry out a lot of investigation of speclfic themes. directed to different audiences. Describe yourself and your greatest achievement. my wife.

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illustrator. Movies like Rlchardson's Madamoiselle or Godard's Wsekmd. I am always sketching a bit of something. I like my figures to have just enough information to do thelr job. Icons like Poiiy Melon-they live and dle with the fashionl Are you Interested in fashion3 Yes. Those New York City teens have amazing street style. colour and humour. Sometimes an illustration might come from the drawing of s bag or shoe seen on the street or subwav. Kiein's Polly Maggoo or Tati's Playrlme. In addition. Travel. three. The computer allows me to paint and mix colours. but also many other things too. Growing up. then illustrate your way. Lacoste*loving prep. collector. Descrlbe yourself and your greatest achievement. I am able to see the colour In my head. The mouse glves a line quality like a marker for me. Photographers like Jean-Pierre Khazem and Sam Haskins. colour and humour are the most important. They made me aware that everything (and anything) can be made with your hands. I am able to use my sketchbookto generate Illustration throughout the year. whether I was sculpting.STEPHEN CAMPBELL What inspires you? and teenagers that i see at The ch~idren my day Jobas an art therapist at Beilevue Hosp~tai. I explored different meda and types of art whlle graduating with an art-history major. art therapist. My collections of Snoopy and Tin Tin. Even if i didn't have any success in my illustration career. hard worker. for you. and know to listen to them. if not. what would It be? My advice is to pursue what you enjoy. story and qualities. Draw what you know. makes a successful fashion UIuatrationt The communication has to be clear. This philosophy has helped me through ail my development as an artist. Do your own thlng. If you could give one plece of advice to a student. Growing up. When I travel. I only draw with the mouse. Then. My detalls. Develop your instincts. dimensional object. etc. It needs to be reinforced by the details. Instant gratification. gardening or embroidering a dog head on a sweater. 1 have to thank my mother and grandmother for providing me with creatlve art experiences. i think of my work as paper cut-outs with many layers. I flunked out of the coiour-theory classes and programme due to my inability to mix acrylic paints for colour scales. What. I draw or maKe something every day. The rest IS left up to the viewer t o decide the figure's name. I always carry a sketchbook and marker. I would always draw the fashions from the newspaper style page or fashion magazines. Those first instincts of choice ere what make vau different. Descrlbe your work. sewing. with the computer colour CMYK palette. I am able to mix the desired COlOUr. i will incorporate these little sketch ideas when needsd. Later. What artistic training have you undertaken? In college my major was In Graphic Design/Packaglng. ethnicity. In New York City. i am at least thinking about the next illustration in my mind. There should be a reason to give the iiiustratlon a second look and study it. The launch of my Ralph Pucci Mannequin lines-the thrill of seeing my work reinterpreted as a lifesize. Which media and techniques do you use? My Illustrations are created in Adobe illustrator. Trends come and q~ in illustration and fashlon. Be aware of the world and history inside and outside of fashion. Observant. Iwould still be drawing every day. .

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ALMA LARROCA What lnspires you? Many things can serve as sources of inspiration. some music. it attracts me as an artistic area where several disciplines are mixed. Describe your work. although I believe that Inspiration does not always appear naturally when I seek or need it. etc. But i think that my vocation and special interest In collage and mixed media comes from practice and free experimentation. when I recelve an assignment. the clear horizon. Are you interested Infashion? Yes. makes a successful fashion Ulustrationl The use of original and attractive techniques. I think that my greatest achievement is to work doing what I enjoy. I aiso studied traditional animation at the School of Cinema of Avellaneda. Argentina. What. cartapsca (papier mach4. for representing the fashion world in many dlfferent and Interesting plastic and graphic ways. cards. are all inspirational starting points. I aiso designed the menu. Argentina. I have also carried out a project for a restaurant. Enjoy the boundaries of each project. book covers. and recently my best work has been my little son! . books and magazines. and I like to combine them for the final result. considering it to be an attractive challenge. creating Illustrations for magazines. Also. what would i t be? You should be curious. according to the moment and the work to be carried out. ldeas can arise from a movie. etc. the idea of dressing silhouettes in my illustrations entertains me. 1 work by assignment. doing as much manually as by computer. sleepless. mixing information with fast sketches. a newspaper or from chatting with friends. which sometimes only I can understand. especially collage in two and three dimensions (assemblage) where i combine objects and different materials. If you could glve one plece o f advice to a student. The work was created with vectors so that printed giantscovered the walls of the restaurant. Buenos Aires. and i have carried out some seminars and short courses: drawing. Curious. the first step Is compiling information on the theme. you should be involved in what happens around you. a play in which you will find the most appropriate way to transmit something with your personal seal. I investigate through the internet. Which media and techniques do you use? I utilize different techniques. I also carry out a similar process with my computer. I am very interested in mixed media. worker. it is something that comes to my mind for any reason and at any time. combining photographs or scanned objects with drawings carried out by hand or with vectors. the green of mountains. etc. for you. you should experiment and investigate. What artlstic training have you undertaken? Graphic Design at the University of Buenos Aires. certain things can serve to make me begin a work: places or environments such as the sea. Generally. I wrlte down my Ideas. obsessive. Describe yourself and your greatest achievement. the smile of my baby. where at times the role of the illustrator is mixed with the role of fashlon designer. I especially like the textures of the human body. But sometimes I work directly on what will be the final work without a prior sketch. newspapers. depending a little on the importance of each work and the time that I have to create it.

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in my case. I am a very moody person. and I guess that it is a nice reflection of my work. felt pen. Describeyour work. that makes me really excited. crayons and spray to Scotch [tape]. A person once said In a radio interview that iooklng at my illustrations made her feel self confident and inspired. Are you interestedin fashion? Yes. I like a little touch of working-class hero mixed up with glamour and decadence. I have my heroes. Also. sensual and impuls~ve. it Is. which I cut out my drawings from. for you. like bonus time. touch. stylist's assistant. Also. I think It is very Important to flee from What artistic tralnlng have you undertaken? Art school foundation diploma. who I return to all the time. but also be prepared to analyze It. Silly I know. If It Is full of emotions. Usually I work best when I feel I am doing the work on my "extra time". Also for me. I also do my own line of clothing. . They include Frlda Kahlo. Which media and techniques do you use? I use everything from Ink. Remember that creativity could be just that you are actually doing something more. and I love the combination of this and my illustration. Then they are suddenly transformed by someone else who applies their own ideas and combinations. I am sure of that. sometimes I feel they were almost made by accident while I was supposed to do something else. My work is very restless.LOVISA BURFITT What Inspires you! I collect my inspiration in the magic meetings and moments in life that are llke little film-clips. which I am sure you can also see in my work. All emotions have to be expressed in some way and. rather than my "career". rather than it having to be the best thing you've ever done. It became through drawing and design. gaining inspiration both ways. what would it be? Follow your heart and first Intuition with an idea. it is so wonderful when I see people in the street wearing my clothes. It is that. What. designer's assistant at H&M. My creativity is important. Beckman's School of Fashion Design and the Royal College of Art. makes a successful fashion ifl~Strati0nl A hit in the solar plexus. But the best illustrations I ever made were done really qulckly. Coco Chanel and Edith Plat because of the heart and soul they bled into their work. that saves me. of course. everyday life and dream away. indeed. Describe yourself and your greatest achlevement. IEyou could give one piece o f advice t o a student. Really trying to work on that one. my work has saved me many times. As if I have been stealing time from something else. a matter of taste. First of all I would llke someone else to answer these questions.

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BILL BROWN

What inspires you?
Mostly I'm Inspired by people-watching. Later, when I'm sketching, I might use a hairdo, or an overb~te, or a stance that I have seen. When I can't watch people, I'ii draw from magazines or my own photographs. I draw my friends a lot. I also enjoy redrawing existlng artwork, such as early advertising cuts or clip art, but recreating the image in my own style.

against. Ultimately, lt's important for me to at least do what's asked of me. They are paying for it after all.

What artistlc training have you undertaken?
BA Hons In Graphic Design from Montana State University (USA).

If you could sive one plece of advice to a student, what would it be?
Draw all the time. 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. lt'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.

Are you interested in fashion?
I've always enjoyed worklng on projects that rlde on a rush of creativity and have too Short a shelf-life to be over-managed. That would describe most of the fashion magazine work 1 do, but I have never been interested in designing clothing.

Describe your work.
I would describe my iiiustrations as sweet, yet smart-assed at the same time. i like having that duality in there. For example, if an Illustration is sexy, it should also be silly. Nothing should be taken too serlously.

Describe yourself and your greatest achlevement.
I'm a regular guy who happens to be very lucky. My greatest achievement has been making a living of my greatest passion. I love to draw, and I would do it anyway, whether people paid me or not. The fact that it's my Jobhas kept me drawing steadily for years, and my style has evolved throughout that time. I can't wait to see how much I've improved in ten years.

Which media and techniques do you use?
Nearly ail the line art is drawn with ink on paper. In fact I just use sharpies and relatively inexpensive paper. Then the line art Is scanned, and colour is applied in Adobe Photoshop.

What, for you, makes a successful fashion Illustration? An Illustration Is a coiiaborative process,
so the success of it depends on the work dynamic of the artist and the cilent. if the art director and the artist respect each other for their specific talents, the result should be a success. When I'm working, I want to feel free enough to do the sort of work that caught the client's eye in the first place. I'm proud of the work in my portfolio and some of my most successful images were done without a lot of art direction. I'm one of those artists who works well unsupervised for a while, but I do like to have some boundaries to push

GIOVANNA CELLINI

What inspires you?
I can be Inspired by many things-

observing people and places around me, or discussing things with my friends and famlly can be really stimulating. I look at art, graphic design, iashlon and illustration, but also children's books and interlor design. Sometimes, even a small detail can be the starting polnt for a piece of work; and trying a new techniaue, or some new paper, can give me the idea for a project. A frequent source of Inspiration for me is nature, and especially the animal world. I am fascinated by the endless variety of their colours, skin and eyes. I am Interested in detail. I also like to go through objects, books and photographs from my past, things that I loved as a child and I still hang onto. I like to Incorporate personal reference in my iilustratlons and I believe this helps me relate to the work, even If I am the only one to understand It.

actual cut.and.paste object, or I compose the Image on the computer and redraw i t as a whole. I use various techniques, sometimes in combination-mainly black pencil and coloured pencils. At the moment i particularly like soft, coioured pencils on coloured paper. I aiso use black ink, adding colour on the computer.

What, for you, makes a successful fashlon Nustration? 1 think that a successful fashlon
illustration, or any Illustration for that matter, IS made by a combination of that respecting different elements. I th~nlc the brief and representing the garment are important, but the Illustration should aiso possess an extra quality, an idea of style that Is unique to the illustrator.

What artistic training have you undertaken?
Fashion Deslqn at lstituto Europeo del Design in Rome, Italy, After that I moved to London, where I took a BA Hons in Graphic Design at Camberweil College.

Are you Interested In fashion? I studled fashion design and I collaborate professionaily with various clothing labels as a print designer. It's Interesting how people relate to fashion, how everyone has a personal sense of style, a preference for certain colours, even if only In the minute detalls. I thlnk that getting dressed Is a form of art.

Describe your work.
My illustration work is heavlly based on drawing. I also use the computer, but i like my images to have a handmade, sometimes sketchy quality to them. My drawings are often very intricate and and detailed, and I tend to work add~ng moving elements like in a collage. I think my illustration work has a fantastic side to it-I've always been fascinated by images with an unreel feel to them.

If you could give one piece of advice to a student, what would It be? I think I would advise students to spend some time thlnklng about what made them want to study art and deslgnremember books, artists, and places that shaped thetr taste and lnspired themthen centre their work around what they really like and feel more passionately about, w~thout worrying too much about what everyone else Is doing. Also. I think that It is important to follow ideas through, remembering that what one has In mind and the finished product are often two completely different things, and sometimes unexpected results can be very exciting.

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Which media and techniques do you use?
I always sketch first In ~encll. As separate drawings, all the elements I intend to use in my illustration follow a general Idea. Then i collage it together either as an

Describe yourself and your greatest achievement.
A fairly quiet Itallan, living In London, who can't think of her greatest achievement. I hope it is yet to come.

JASPER GOODALL

What insplres you?
Re-contextualizlng elements In things like Japanese prints, natural-history lliustratlon, and seventies' illustration and design. Erotic Illustration, particularly at the moment Aubrey Beardsley's work. Also, female beauty, sexuality and my love/hate for fashion photography.

slnqle piece of fashlon "news" or "suggestions". The Serious work of the slx-page-ormso story Is left to the photographers and the models.
I thlnk, personally speaking, fashlon iliustratlon can hold as much attitude as a photograph can. I want my work to be used positively and to be perceived as valid, valuable and desirable, and to be taken as serlously as a photograph would be.

Are you interested in fashlon?
Yes, I have been for some years, not realiy specific clothes as such, more vibes conveyed by clothes--attitudes that come through certain looks.

What artistic tralnlng have you undertaken?
Foundation at UCE Blrmingham. BA Hons in illustration at University of Brighton.

Describeyour work,
I guess I have a recurring theme of female sexuallty; sometimes It's about the clothes but more often lt's about the attitudes of the women I present. Quite often lt's about being powerful, confident and playful. I think I'm really interested in des~re, both my own and the audience's and how one successfully pushes "desire buttons" through artwork.

If you could glve one piece of advice to a student, what would It be?
Don't get too hung up on your degree show or the mark you get. Your course Is the very beglnnlnq of your artistic life and you will change over and over. The lliustrator/designer you are when you s not who you will continue to be. leave 1 Your course Isn't the only chance you'll get to do well and assemble your portfolio so don't get too worried If you feel Incomplete on leaving. When you leave, talk to as many art directors as you canthey are your new tutors, as well as yourself. Remember nobody wlll ever know who you are unless you go out and tell them you exist.

Which media and technlquea do you use?
I use a process of initial photomontaqe to create a photo.based image of my "character" from a vast library of photos, This method allows me to create a very good reference of someone doing virtually anything. By putting an arm here, then a leg there, and e head, etc., I can manufacture a photograph that I have neither the time nor money to actually take. 1 then re-draw e~ther on the computer or with traditional medla-Ink or felt-tip pens or pencils, so the illustration could end up either very clean or more orqanic and rough looking.

Descrlbe yourself and your $reatest achievement.
Perpetually unsure of my own abillty as I suspect (or hope) most artists really are! My greatest achievement has not yet come-l hope It wlll be to get my own book published wlthln the next two years.

What, for you, make8 a successful fashion lllustrationt
Fashion photography has become so sophisticated and has spawned so many ceiebrlty photographers, that an illustration Is too often seen as a poor alternative. I thlnk well-used fashlon Illustration Is very rare. it's usually a small,

' L HtSIURlCALAND MNTEYPOMRY FASHION ILLUSTRkTIOW I g .

hold your attention. DUsseldorf. My artwork has been chosen for the labels of Bonny Doon Vineyard. one needs to be passionate. Germany. elegance and romance are very attractlve to me in fashion. My approach and technique are closer to the realms of fine art than most typical Illustrations. Which media and techniques do you use? Chinecolle. for you. in lieu of fame and fortune. My work has been honoured with numerous awards and exhibitions at BMW (New York). smooth lines and often sensual figures. Santa Cruz. I pour and layer the paint on the back of the Plexiglas. My paintings evoke seventeenth-century Japanese scroils wlth their clean. she's pretty.ANNABELLE VERHOYE What inspires you? She has that look. I . What arttstlc tralnlng have you undertaken? MFA at School of Visual Arts. The perfection of my models is clearly artificial. and dealt with more directly and on a higher level of thoughtfulness. It will naturally convey its importance and find a home. in order to make it in the highly competitive and talented world of illustration. The work of many of today's top designers IS extremely captivating. The ambivalence and double-sidedness of beauty has been the keynote to my art. 1 I i also work in a comblnatlon of spray paint and acrylics on Plexiglas. I have also had the honour of work~ng for the Walt Disney Company on a tote-bag design. just to name a few. The comblnatlon of sex appeal wlth luxury. Put together a portfolio that Illustrates your own personality and the type of work that excites you. what would it be? Develop your own body of work. Outstanding art Is achieved through a defined personal vlsion. They seem flawless and arouse fascination through perfection. disclpllned and persistent. as I am meticulous In the creation. I try to produce the kind of images that stop you in your tracks. The figure should be rendered In Its aliveness and humanity. Thomas Werner Gallery (New York). Descrlbe your work. What. Are you interested in fashion? Yes. The Society of Illustrators. Each layer is scanned individually and further amalgamated In Photoshop. Nothing Is accidental or spontaneous In this process. Beauty becomes absolute. New York. makes a successful fashio~l illustrattonl The drawing of the human flgure is the most crucial aspect of a piece. Be true to yourself. You know it. American Illustration and La Samaritaine (Par~s). she's ugly. So ugly. I have become aware of how hard-driving and dlsclplined today's successful artists are. BFA diploma In Design at Professlonai College. The keyword here is passion. It will create a powerful connection and become true and compelling for others. and prevent you turning the page. My goal is to deliver a plece that is beautiful and dlstlnctive. When your work focuses on something deeply felt and earnestly expressed. which combines delicate layers and precious webs of delightfully patterned Chinese and Japanese rice paper with a sophisticated line drawing. Inspired by Europe's stained-glass windows. giving the work a clean elegance. I was honoured to receive my first for TheNew commission: an ~ilustretlon Yorkrr. thus idealizing and elevating attractive female figures. Fashion Is one aspect of our culture that transcends the time in which ~tIs made and also encapsulates It for us today. and which Is so congruent with the essence of the project that It manifestly advances its cause. So pretty. Describe yourself and your greatest achievements. and It Influences my artwork. I f you could give one plece of advice to astudent. hard-worklng. Shortly before graduating.

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.. . surfing. wood and fabric swatches. pencils. and i like to lengthen to editor~al a neck or twist a pupil. it is quite iyrrcal and humorous-i figure beauty as melancholic.. And they relish their practice almost every day. Oh. My greatest achievement? I am most proud of a bountiful collection of idiosyncratic.EDWINA CHRISTIANA WHITE What inspires you? Wordplay. which is why I am attracted work. I then went on to teach different classes at university in Sydney for four years. Those ones you can't take home. for you. I am the coiourful and friendly sortfootloose and searching for fascination consistently Inconsistent .. My advice would be to continue to make time for what else you do-if you are acting. makes a successful faahlon illustration? Perhaps to adapt and redefine beautyto make an impact and attract attentionlust like in reai life. if ever. Sydney. Imperfect with purposefully loose ends. inks. made solo or in a group. I use tea. It Is often qulte layered with meaning. mishaps. I think of fashion as in the same league as a visit to the zoo. for the sake of exoresslon. i'ii try anythlng hanging out In the cupboards or from a street collection. rainy days and music-It doesn't take much . I What. Stories. hilarious and talented friends to keep me afloat.. Whlch medla and techniques do you usel I work pretty fast. exhausted material. . Describe yourself and your greateat achievement.. it's narrative and figurative. Are you interested in fashion? Yes. seen in reai life. The best work is provocative. playing in a band. Australia and an exchange term at Brighton University's illustration course. 1 tend to butterfly socially-and then sometimes I may disappear for a whlle and relish being mute and serious. spirited and timeless.. a sharp pencll. so oils are rareiy employed. to raise an eye socket of enlarge a hand. Recently I have been printing drawings on suede and I have worked with chux (cleaning sponge) and shoepolish in my time. structured. Describe your work. It can be qulte difficult to leave a catsuit behind. I If you could give one piece of advice to a student. . i figure haute coutura is the extraordinarily exotic: the fragile. whatever just play on and adapt those techniques and references to your work practice-whether it be Improvised. warm. The happiest designer/lllustrator folk i know make room for their other stuff. writing.. I like to suggest and enhance the particular language of a designer and to create a particular feel.. pacing back and forth in its cage. delightful. colourfieids. What artistic tratnlng have you undertaken? Visual Communications at the University of Technology. juxtapositions.. so that allowed me to experiment further. wire.. My wardrobe Is evolving. anythlng cheap and within reachendpapers. weiiadapted. a corner of fresh paper. what would It be? Work practice is redefined now-make every attempt to focus on how you want to live. Imagined creatures that are rarely. From feathered heads to dovetails-the best of the fashion game is alluring and watchable. And the fact that I haven't lost any fingers. wonderful.l will change my outfit and pictures often.

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after which I redraw it using Illustrator. anlme. I love drawlng figures. line qUallty. intense. What. hyper. I remember when I was very young. I think. I remember seeing garments turn into butterflies. they're sexy and campy. is key. patterns. wallpaper. Colour. these two things have melded together. design. rather the drawlng space Is filled with people. Canada. If you could glve one piece of advice to a student. not just a successful fashlon lllustratlon. honest. Design and composition. a better fashlon Illustrator. or creating. music videos. I sat there In awe of his colours and his ideas. I was heavily Influenced by anlme and manga and comic books as I was growing up. Descrlbe yourself and your greatest achievement. . quirky and abstract. then I became Interested in fashion. Now. As for my greatest achievement. a successful piece Is derived. manga. They tell stories or are lone sllhouettes. cartoons. passionate. books and storles. then It wlll shown in your work. I think in some capacity. I thlnk I was twelve. art. and will motivate you to continue to learn and to be lnsplred by people and things. concept all these principles and elements come into play and. neurotic.MARCOS CHIN What inspires you? Strangers. makes a ~uccessful fashlon Ulustration? i grew up seeing that fashlon lliustratlon was a good rendering of clothing on a figure-that the lines. superheroes. or painting. fashlon. which wlll help you become a better artist or. I think that way less so nowadays. What artistic trainlng have you undertaken? I studied at the Ontario College of Art and Design. dollles and dolls. I think fashlon illustration has a much wider focus and Its appeal has broadened. in thls case. colourr and shapes used were a good reflection of the garment It was supposed to Illustrate. excitable.. I draw out the Idea first in pencil but usually use that initial sketch only as a template. I would probably say being able to draw for a living. watching Fashion Television. I think. Describe your work. organized. Are you interested I n fashion? Yes. for the most part. my images are light and sometimes whimsical. illustrations wh~ch are themed "fashlon" are funny. It wlll make you persistent at what you do. from them. I think a successful fashion lllustratlon should be gauged no differently than any other work of art. while others focus more on the elements of the Image's aesthetics. Some are more surreal in their Ideas. you'll see that often there Is hardly any background. what would it be? I think persistence and honesty is the key. travelling. graffltl. Quirky. and the designer Patrick Kelly's runway show was on. I immediately went to my sketchbook and started drawing flgures in my own Kelly. and experiences. . with fabrlc draping and models swaying. lnsplred outfits. driven. for you. 1 have always been. friends. In Toronto. Which media and techniques do you use? I use Adobe illustrator to create my work. If you love drawing. If you look at my work. when you flip through magazines. However. melancholy..

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A good Illustration is a silent and mysterious story of a brief meeting between someone who draws and someone who looks and adopts In a personal way what he is lookinq at. makes a successful fashion Illustration? Something that speaks to you. quick to dry and many deep nuances are possible. but I do enjoy meeting people who can feel my work. ~f you could give one piece of advice to a student. etc. I do a lot of illustrations for Japanese newspapers. or even l o r some authors. I draw mange. Actually. What artistic tralnlng have you undertaken? In my case. for you. what would i t be? There are many ways to become professional. What. to meet stylists. Describe yourself and your greatest achievement. The most important thing. On the other hand. i realized at this time that fashion is also an art. is to practise a lot end leave the thinking until afterwards. crayons and PC-it depends what I'm working on. This wasn't so much a but lack of opportunity. and I have no idea which is the best one. Describe your work. Ail the Stories that are around us: it's a question of looking and feeling. My greatest achievement? I don't know exactly. i worked for a long time for Japanese boutiques. I prefer acrylic because it is easy to manipulate. Usually 1 paint portraits. My painting should describe me better than my words. and about three tlmes a year i have an exhibition. and 1 keep up to date by reading the latest fashion news. . Also. fashion magazines. even if we don't speak the same language. They asked me to discover new brands. Sometimes I draw a!! day. markers. question of cho~ce I think it is Important to be curious about everything and never to stop drawing. to me. Which media and techniques do you use? Acrylic on canvas. and even if we have a very different personal history. n fashlon? Are you lnterested i Yes. when i was in Paris. To create is to make alive these small things that we catch a glimpse of in our environment. even if you don't know exactly why.OTA KOJl What inspires you? Various things that I touch In my daily life. I didn't learn through academic training.

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Objects that can be found around the house that may often be overlooked: an old knltted cap. an admirable quality and has its place. or grandmotherly smocking. Describe yourself and your greatest achievement. I am interested in so many things. etc. blanket stitch. an empty tea box. and packaging from that of gum wrappers t o soda cans-all things that have snuck into what we might call the "visual vernacular". California (USA). My formal education is as follows: BFA degree in Graphlc Deslgn and Packaging at the Art Center College of Design in Pasadena. I find it very energizing] Clothes are a great reflection of the culture and interests of the time t o which they belong. I prefer the good oldfashioned ones: a simple running stitch. Univers~ty of London. Sometimes thls works to my advantage and sometimes t o my disadvantage. which makes me always believe that my greatest achievements are still to come. for you. In terms of technique. Describe your work. texture. and love seeing it in action. To me. But I think I am at my best when I am learning something new. There are endless possibilities for thls by simply playing with colour. but if the personality of the piece is not present. How they are worn and combined is pure expression. applique. If you could give one piece of advice to a student. Which medla and techniques do you use? I love materials that evoke memory. What artistic tralntng have you undertaken? I have always loved art and design. I try t o represent objects and images from the everyday or banal In a new way. simplicity is best: a hand-tied pom-pom. and that is the ability of the artist to capture the mood or essence of a piece. Technical accuracy is. a pair of muddy weilies.what would it be? Take chances. materials. I enjoy the fun that can be had through shifting the expectations of the viewer. makes a successful fashion illustration? I can only talk about what I enjoy seeing in fgshion illustration. Post Baccalaureate Degree in Fiber Arts at the School Of the Art institute of Chicago (USA): MA in Visual Arts: Textiles at Goldsmiths College. of course.ANNE BOURBEAU What inspires you? Simple everyday things. often drawn to the graph~cs like the pictures you might find in old children's books. I am of the banal. What. Are you Interested in fashion? I love fashion. a Crisp pleat. then what good is it7 .

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However. My greatest achievement Is that I am still doing what I trained to do1 My work has improved year by year. Then. l am a very observant person and I absorb what goes on around me llke a sponge. i listen to music to sult the work I am doing. I love ail sorts of work. MA in Communication Design at Manchester Metropolitan University. with a Bernina sewing machine. I love old fashion plates in Art Deco style. Other than that. Modigliani. sometimes quite unexpectedly. my inspiration is eciectlc. and I am mad about colour and pattern. with spots of paint here and there. They all get mixed together and appear in work quite randomly. beaut~fuily cut. Music is particularly important. Are you interested in fashion? I am interested in the way people express themselves with thelr ciothes and accessories. Scheiie. facing page) or i plan commissioned Illustrations carefully on tracing paper. . What. what would it be? Be positive. If you could give one piece of advice to a student. I paint with acrylic onto the stitched drawings and then embrolder again. Almost anything can inspire me. I have managed t o make a lot of peopie smile with my creative work. Piet Paris. most of ail. like a large bowl of minestrone. I dress life up and try to celebrate the diversity of human beings. Describe your work. patient yet persistent. Mats Gustafson. proactive. and a perfectionist. especially ErtB. I love rlch and interesting fabrics. i remember funny things that other people may not notice and log them In my head. i wear Jeansand tra~ners most days. glimpses of characters. a lot of the time. Tiiieke Schwarr. once I am happy with the desipn. Describe yourself and your greatest achievement. Klimt. coloured-thread patterns into the shapes and spaces within the drawing. conversations and actions that go on around me. As far as other artists are concerned. Aubrey Beardsley. mnkes a successful fashion llluslration? Fluidity of line. peopie say i am a fusion of Beryl Cook and Lowry when they see my work! Which media nnd techniques do you use? I collect ideas in sketchbooks and do figuratlve drawing as often as possible. such as Ralph Steadman. feminine outfits every day if 1 could be wheeler1 around and did not have to walk. and the simplicity of modern work by Tanya L~ng. Ertl. then. My work is an eiaborate depiction of everyday peopie. glimpses of movement and conlident yet simple mark-making.LOUISE GARDINER What Inspires you? People-watching mainly. I either draw freely onto canvas (see Crowcl Sketclt in Stitch. And. If I had the time. My characters dress in very decorative and colourfui clothes. As it is. I would learn t o make ciothes like these. stitch through it onto canvas. which is wonderful. London University. mixing Intricate. What artistic training have you undertaken? BA Hons in Textiles at Goldsmiths College. i would wear heels and elaborate. for you.

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makes asuccessful fashion illustration? Quite minimal mark. shirts. Understated-l suppose you have got to know what it feels like to wear the clothes to draw them. which I weld and spray. with a lot of movement contained withln it. What artistic training have you undertaken? BA Hons In Printed Textiles. I am 50. whlch I drill and stitch. Are you interested in fashion? Yes. I am also using aluminum sheet. but I am also exploring moving sculpture pieces for my next exhibition. which at the moment are taking the form of dresses. Describeyour work. Carol Shields and Michelle Roberts. Master of Arts. particularly Margaret Atwood. also In Prlnted Textiles. If you could give one piece of advice to a student. where I had studied as a student 25 years earlier. and very often intricately paint. west Wales. . at Winchester School of Art. for you. my greatest achievement was seeing my work exhibited in a museum in Slovakia.JULIA GRlFFlTHS JONES What inspires you? Folk art is my greatest Inspiretion. but don't slavishly follow it. married with two children and live and work in Lianybri. at the Royal College of Art. I am Interested in wearing clothes that are highly decorated and embroidered. I am interested. Besides produclng my children. London. I make metal pieces. Which media and techniques do you use? I use mild steel wire in different gauges. coats and aprons. what would it be? Work hard. What. and in clothes that are an Unusual cut or shape. and be prepared to knock on doors: It won't necessarily land in your lap1 Describe yourself and your greatest achievement. They are wail pieces. particularly Eastern European. But poetry and literature also Inspire me.

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and mostly girls and mushrooms. Describe your work. I also work in oil on canvas for exhibition pieces. What artlstlc rralning have you undertaken? BA Hons in Graphic Design at Curtin University. etc. and I hope that the time that passes in real time gets conveyed In the illustrations. What. Perth (Australia). pencil. You can often see trends in fashlon spreading to design. I Ilke each piece to feel heavy wlth experience. Photoshop and Illustrator. It's something to strive for. don't irnltate. particularly in fabric patterns. always involving movement and other worlds. I f you could give one piece o f advice to aatudent. advertising. sometlmes psychedelic. photography. It can be simple or complicated. what would it be? Create. My first book. on the computer. Fashion Is a large part of my life. ink. My illustration work is laborious and many layered. for you. Mushroom Girls Virus. of course! I have a clothing brand and I contribute to many others. and vice versa. . Ialways try to convey that feeling you have when you wake up from a dream and you feel like you have lust experienced everything and nothing* Which media and techniques do you use? Watercolour. I usually keep adding to It. heavy watercolour paper and. I start on paper and never know what the end product will look like. makes a successful fashion Illustration? Something striking that you'll linger over.DEANNE CHEUK What inspires you? Orlolnalitv. Describe yourself and your greatest achievement. That moment when vou see something so original and striking and memorable. Are you Interested in fashion? Yes.

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such as sewfng. often being or pattern. 1961 for extra guidance. there has been a return to the popularity of hand-created craft styles. alongside collage. uslnp marker pens. This way you can choose the appropriate coloured embroidery threads. All you need to begin is a needle. It is a process in which the simplest of materials can suffice to enable you to create beautiful artwork. HAND EMBROIDERY Bethan Morris Por well over a thousand years. it would be a good idea to refer to the stitch book listed in the Further Reading section (p.a picture Hand embroidery does not rely on complicated equipment and techniques. Embroiderv is the art of applying decoration by needle and thread to the surface of a piece of cloth or canvas. a Ilghtwelqht callco has been used. many people find these straightforward oldfashioned activities enjoyable. . how do you producesuch inspired creations? Where should you sfart-with a sewlngneedle o r a mouse? This chapter explores some of the many merhods recognhed by contemporary illustrators and artists of the moment. Mttlng and crochet. 160 ' ' Transfer the handbag Illustration onto fabric. some fabric and a selection of embroidery threads lf you are new to embroidery. 2 . In thlscase. For handembroidered pieces you should always illustrate On paper flrst. stitch. So. . us~nga light box or window to trace the Image. calico is f ~ r m fabric. if you and easy to control for rtltch--a good starting are a beglnner. In recent years. We have seen tnulitional methods such as dmwing. embroidery has been a means of adding decoration to clothing. By producing a plain Ilna-drawlng of a handbag. too. sculpture and digital manipulation to illustratefashion.The prsvious chapter identified the many techniques used by artists and illustmtors to represent clothing and therashion figure. It is essential to plan and orqanlze your thought process. It isa good Idea to plan the colours ol your artwork at this stage. personal accessories and household or church furnishings. This example has been shaded In complementary tones. painting and print. you can clearly see the shapes to be filled with stitch and therefore plan the stitches to use. ILLUSTRATING A HANDBAG WITH HAND STITCH You will need: Origlnd drawing Light box Background fabric (calico) Marker pens Embroidery threads Embroidery frame or hoop Sewing needle Stitches used: Running stitch Whipped running stitch Satin stitch French knot 1 No matter which creative technique you are aiming to experiment wlth. In a world that is now dominated by computers and digital technology. Many variations of stitches and techniques have evolved over the centurles.

A runnino stitch is the most basic and versatile of all st~tches and should be usedior the outline. Thls exerclse has shown how to create an embroidered fashion Illustration in just a couple of hours. StltCh. This type of thread Is made up of various toner of the same colour. This outline is stitched in a dark blue variegated thread. You can alter the size of the knots bv lncreaslnp the number of tlmes you wlnd the thread around the needle. but wlll become easier wlth practice. wind the thread around the needle. Once you have mastered hand embroidery. - m e floher petals ano eaves need to oe treateo a ffercntlq trom tne o ~ ine t of the bag: tnesc areas ShOL a oc f~llea a tn a solto ambroider. . slmiiar decorative techniques could also be applled to your own clothes and accgprories. Take the thread through the fabric and hold it taut wlth your free hand. a v4hlDDeO r ~ n n i n o stltcn olves a heavier 'ne: 1olior:no your running stitches. stlll holding the thread tightly. 5 The centre of each flower has been created wlth a singular rtltch known as a French knot. Satin stitch looks deceptively slmpie. This Is a fairly difficult stitch to master Initially. Pass the needle through the fabric at reqJlar interva s wltn an ~nana. turn the needle and insert it back Into the fabric where it originally emerged. antl then return the needle under the fabric ciqse to the point where It emerged. To leno the outline more oefinlt on.oLtmovement. A circular knotted stitch wlll form on the fabric surface. Build the stitches up close together so they lie flat and create an edge to the shape.Mount the fabrlc image in an embroidery hoop to create a taut surface for stitching. Satin stitch can be worked In shy direction. adding a sense of lloht and shade. then. First. Next. but it takes practice to sew it neatly. carry the thread right across the shape to be filled. take a darker thread and weave (wh~p) the needie In and out of themalternately to form an almost corded effect.

as shown here with dots. making them an incredibly versatile medium s also afairlv for fashion illustration.strat on.ou aa t oec oe on tnr co. rant to . navy blue mlxed with a burnt umber will be used to create a washy blue/qreylbrown effect. Ah e .rs will be blended to create interesting effect. I Carefully paint masklng fluid with a thin brush over the areas you want to remaln as white Paper. Usinq a light box or window. CREATING A FASHION FIGURE USING PAINT You will need: Magazine or original drawing Light box Pencil Watercolour paper Brushes--a variety of sizes Masking fluid Masking tape Watercolour paint Acrylic paint 1 Select an lmage from a magarlne that you want to recreate In your own illustrative style. Let the maskins fluid dry comuletely oefore tne next stage. You could also draw your own figure from a photograph or s prevlous piece of artwork.PAINTING Louise Gardiner Painting is a traditional technique that is sometimes overlooked by students. Watercolour ~ a i n t are flexible medlum especially when mixed with water to create exciting patterns. nearma in m nd tnat tne waterco o. acrylics produce strong colours and can be applied straight from the tube or watered down.. However. Always think about the characterlstlcs of each materlal before choosing which ones will sult your f~nal ptece. Ensure you draw your lmage stralqht onto watercolour or stretched paper.ours yo. trace the figure onto your page. lt is often easier to fiU an Illucrtration wlth colour using technology rather than mixing the coiours yoursclf in a palette. In this illustration. as you will later be working in a wet medium that wlll buckle ordinary paper. Remember you can either block In whole shapes or develop patterns.se 'n yoJr I *. .

Droplets 01 coiour have been added around the edoes to create a oattern In the backaround. Here. While the paper is still wet. Watercolour naturally bleeds en. 4 Once the wash Is completely dry. and also t o dlfferentlate between the skirt and the skin tones. the masklng fluid can be fairly easily peeled off or removed wlth an eraser. smell drops of gold are added to the hair. reacts wlth witer. thus provlng the "less. add the colour wash you have chosen. eyelashes have been added in acrylic w ~ t h a very fine brush. Also. These were added using the the end of the paintbrush.sometlmes-more" theory. Then add a wash of water. along with a cheeky beauty spot to give the figure character. to achieve more texture. the paint has been allowed to bleed and run around the paper in the water to create a washy dappled effect. Acrvllc has been used for the bag and the shoes to vary the lntenslty of the palnt. ls. and droplets of black in the coat create an Interesting decorative counterpart to the whlte paper spots. The delicate Ilnes of the leather and the fishnet tlghts were added with a fine paintbrush as a finishing touch. secure the paper wlth masking tape to prevent the paper from buckling. so take advantege of thls when uslng thls medium. 5 NOWIt Is time to add the flnal details. Here. as well as the bristles. being careful not to miss eny areas. More water has been added to the figure's legs to create a subtleshadow to suggest nylon tlghts.3 once the fluld Is completely dry. . This delightfully humorous image has been created using a fairly limited colour palette. Next you can add blocks of colour and subtle washes to represent the clothes.

angular lines of the trousers. Waterproof ink will produce solid.a a oa lpolnt prevents you becOm np too precioLs anu a. YOU can tracc from tnis figure ulrectiy or J S ~t ~ as r g-lac to ConstrJct vodr own f i q ~ r e taking tnc opportunity to make the pose more dramat. Cnoosc some clotnlno m o dctr. start on a fresh piece of paper. again with a ballpoint.lo*s you to capture iome aoamic line work a you bloc6 out tne main ShaOOwJ ana apply tne cnosen desiqns. Use your magazine references for drawing hands. Using a light box. picking out the stronger lines from the underlay.DRAWING WITH INK Will Knight Ink is an alternative medium to paint that. more flowinq ilnes used for the sweater in contrast to the hard. Depending on the type of ink you use. You can use ink directly from the jar or choose from a large selection of pens. Keep detail s mplr here an0 mike notes to yourself about wnat yob w sn to commun crte. mouth and nose. trace the figure and main lines. Indian ink has been used for centuries and. you can make a variety of marks. bold line drawings lo which washes can be added. Try to use as few lines as possible. creating maivellous patterns. soJrce e codple of appropriate l ~ f r r t y l magarlnes r for insplratlon and visual rrfertnce. because of its versatility. CREATING A FASHION FIGURE USING PENS AND INK You will need: = 164 Magazine or original drawinv Tracing paper Ballpoint pen Paper for final artwork Light box Waterproof Indian ink Brushes Rotring art pen 0. can cmate an interesting fashion illustration. 2 Using the first sketch as an underlay.ls that vou tnlnr #ill worm me find 0 character witn the ripht soft of pose.2 Pilot drawing pen White pencil crayon I rlavlng occlded on tne mOOd or tneme for voJr ll ustratlon. Note the softer. is the first choice of medium for many illustrators.C ds1n. if used properly. eyes. . while non-waterproof ink will disperse in water. again using as few lines as possible.

Whlte crayon is also used to suggest the sunlight catching the undersidss of the storm clouds. Use the white space and denser line work to show formand shadow At thls point. however. to provlde a strong and moody backdrop. ~tIs too thlck. smaller brush strokes and a flnal touch of whlte pencil c r e w to Dick out the rlpples. A comblnatlon of art pen and brush are now used to paint In the scenery. If at any stage you are unsure as to where to apply your Ink. 5 The art pen IS used here agaln to add touches of texture to the trousers and chest panel. Top tlp: acc~dents will happen.2 Pilot drawlng pen 15used to add the detail that suggests the knitwear. thus adding dramatlc atmosphere to the completed Illustration. so an 0. Again. You can use a felt nlb. block In the shadows using black drawing Ink and a sable (or synthetic) brush. but flne enough for smaller areas. for this stage. make sure you have some reference Imagery from your maqarlne or the Internet to guide your decisions. make sure you have a good supply of tissue to hand1 The tlssue can also be employed to manage the amount of ink on your brush. . ~tis time to edd the line work. Make sure your brush is large enough to flll the area swiftly. but a Rotrlng art pen wlth a stalnlesssteel nib will provide a looser and more lnterestlng Illustration. In this Inslance. you may wish to thinkabout adding a suitable background scene for the Illustration.3 Next. so before you brlng the Ink to the drawlng area. for the sweater texture. a rocky cllfl top wlth dark storm clouds above and swlrllnq seas below was decided as fittlng the tone of our character and hls aaparel. Note that the clouds and sea were blocked In solld black. Note the flowlnq lines of the sweater In contrast to the straighter hatching on the trousers. wlth the sea blending into white through a comblnatlon of Ilqhter. such as a technlcal drawlng pen. use a separate piece of paper for testing out your Ideas. 4 When the ink has dried.

the possibilities for collage as an expressive medium have widened greatly and photomontage is increasingly popular. If you look closely.whlte colourlng of the clock emphasizes the figures outlined in s~lhouette beneath. papers can be coilaged by cuttlng. The bullding used to be a train station and t h ~ s photograph shows the original statlon clock. using a light box. CREATING A SILHOUETTE You will need: Photograph Magazine or original drawing 'Ikacing paper Light box Pencil Black. bold silhouette and trace In pencil around the outline. With the advent of the digital camera. the strong black-and. new technology has allowed for mow complicated experimentation by collaging scanned original images on the computer. or create your own original outline. 1 Y - 5 = Forfurther embelllsk~mmts: Scanner Computer Adobe Photoshop program Z The next stage is to tnin6 aoout Inc fngure rnat w. However. In its simplest form. coloured and white paper or card Scissors or craft knlfe and cutting mat Spray glue 16s As a startlng point for a fashion ~llurtratlon. . rather than taking an exlstlng pattern or plain paper background. either by creating crisp cut lines or exploring abstract Lorn edges.COLLAGE Adriano C a m Collage has always been an extremely effective way of using flat colour. Collage is an excellent technique for creating impact. Find a figure In a maqezinr wlth a strong. why not urea photograph that inspires you ~nstead? The one used throughout thls example was taken at the Musee d'0rsay In Parls. I be the focus of >our tlIJs1reIion Tne f~auren tn s examDla will oe colieseo :n cero so that t is silhouetted like the figures in the original back~round photograph. tearing and glueing.

cut the figure out to create a template. add quirky highlights and areas of shade to vour silhouetted flqure. The coliaqe is finally complete when a drop shadow and outer glow are added to the fashion flqure. uslng scissors. or a craft knife and cutting mat. ? Using white and coioured card. . laying the basis for your collaged slihouette figure.Next. Here. Draw around the edges of thls template onto black card. Adobe Photoshop is ideal for this type of project and is used by many professional fashion illustrators worldwide. the effects have been created uslna the maaic wand and clone stamD tools. . Filters were also used and the dpacity iebels adjusted to qlve varying balances and contrasts to the coliage. Cut this out and stick it onto the background photograph. using spray glue. This is where vou can reailv start to see the il~uktration coming tobether. YOU can add hairstyles o. fac~ai features to glve your flgure character. You could embellish your final fashion Illustration by scanning it into vour comauter and worklnu further detail into It on a saeclallv desianed comlputer program.

Is I drawlna.COMPUTERIZED MACHINE EMBROIDERY Patricialoyner Computerized machine embroidery is almost like drawing with a digital needle instead of a pencil. You may even find that these mishaps turn out to be "happy accidents" quite by chance. Most praqrams will accept familiar farmats such as bmp. You can then select a trace optlon to do the dlgltlzlnp automatically. tiff. rvon for embroiOlrY. and send the information digitally to your sewing machine. . As with any new activity. and the needle and threads your brush and paint. stitched lines appear on the fabric beneath and an instant piece of art is formed. You will need to spend time familiarizing yourself with your sewing machine and computer programs. practice makes perfect. Do not be scared of the mistakes you make. As the machine begins to sew. Tnlt rlmDle lmaor h81 C n nco~lro from a brhlon 168 5 a D : BUILDING UP A PICTURE: ILLUSTRATING A FIGURE FROM A MAGAZINE You will need: Magazine Scanner Computer Computerized embroidery program (this tutorial uses Pfaff 3D Creative) A sewing machine (this tutorial uses a Pfaff 2144) Background fabric Sewing threads $ 2 The next stage I s to scan the image into the computer software. the obvlour m r t l n q point. 1 As with most of t n e n tutorials. jpeq. . You can plot your fashion illustration on a computer. Open the dlQitlzlngmodule from the menu by selectlna the Icon and click on Acquire Picture to obtain the original Image. transfer it to a digital embroidery program. The fabric is your canvas. etc.

' Z . Watch In amazement as your original plain drawing becomes a beautiful colour embroldered fashion Illustration. while the Iris Is created using a satin ring. he 5 When you have completed the plotting. in this tutorial. satln stitches are used for the hair. 4 At this stage. Go to the Motif Fill menu and select your patterns. A runnino stitch is ulotted alono the too of the headband to move from curl curls aie then fliieion screen with a bronze satin stitch. . you can use the program to help plot the stitches. These can be adjusted in size. etc. you can also think about the garments. to curl. ??I*_&- I 3 Once you have the image on screen. depth. u**n*4y.r *m- Y. you can rave your selections and t a suitable send tne oes19nto voJr sewlng mrcnine to st~tcnt o ~ Place foor~c n tne machines embroiderv noop (stab! ~ r e rand ) the macn nc to ready to go. b.w yl L*-< *.-I* P I . colour. How will you fill the dress and headband wlth embroidery stitches7 This can all be plotted on screen too. The eyelashes will be double stitch.

you need to close the paths. then scan md cave It onto your hard drive. YOL can do this BV aehctinq Ognct. Paths are the basls of a 1 1 oblects in Adobe Illustrator and can be Open or closed. c h ym. open Aoabr Illustrator. you need to Create a Mse Imago on whim y0. Adobe Illustrator is object-orientated and drawlngs are composed of separate. . choose a bright colour from the palette. When you have completed your drawlnq.com/supporclproductslillusuator. BUILDING A FASHION FIGURE ON THE COMPUTER You will need: Original drawing Scanner Computer Adobe Illustrator program 1 f h t . kmemoer to save voLr file an0 Website help: m www.ADOBE ILLUSTRATOR Sitnone Legno Adobe Illustrator offers incredible control to those who want to use the package to draw almost from scratch. mathematically deflned objects or groups of objects (vectors). To close a path and divide your Image Into zones. so you can see the llnes you draw on screen. This takes a little practtce. As you draw in red over theorlqinal sketch lines. you should select the path uslnq the direction selection tool and then choose Object > Join. When working digitally.r Olqltal fashion tlqun a n aron You can ao this By Qrawlng r simple sketch In ptncll. you can unlock the orlqlnal auidance sk!tch and delete It f r ~ m the gcregn. red has been used. distinct.adobe.html ll*--c=7 " 2 The next stage 1 s to build Image vectors. there are two main types of picture-making applications: bitmap (or raster) and object-orientated (or vector). ~ h handmrda n sketch w l l ~ rpwa on vow bYank page s starnerd laver 30 that you can wuth f*ely ad& vectdrc wltnout movlng the q u ~ d(r ~ k ~ t below. will nee0 to s w ~ r the e Image. Using the Pen Tool menu. Next. qato llle ) Piace and select the s a w $an. In this example. Lcck.

you can group a11tne elements by reco owing tne garment. The tools wlll help you add Ilaht. ~ h l can s be achieved by relectlng Filters ) Colourr > Adlust Colours. - #hen you are nappy wltn tne embe1ishmenls ~ O hare J made to the c otn na. Using Adobe Illustrator's transparency controls. the blendlna modes control how an obiect's colour Is affected bv the colours In undeiying objects. Adobe Illustrator has 31 moveable palette?l. yo^ will neea to create a oattern. you can also add a touch of realism to your fashion Illustrations. all of whlch can be opened from the Window menu. you can create backgrounds on whlch to place your figures. choose and swltch between colours. As you become a ~ ~ ~ ~ to t the ~ m R~ e~ d IR possibllltles SS this program offers. You can view the coiour you have selected in colour squares on the toolbox.The stroke palette displays the weight and styleof the Stroke. TO ad0 some oecoratlon lo tne cotncs y o u f'g-re s wear. Use the colour palette to mix. You can also use the eyedropper tool to select and drop repetitive colours (such as shin tone) lnto your lilustratlon. You have now bullt a fashion flgure on the computer. and can be used to change those attrlbutcs.3 The next step 1 s to start filling in the required colours for the fashion Illustration. Th s one nas oeen created n Aoobe Ill~strator and imported into the art space. shade and denslts The ouaclty slider on the transparency palette controls the transparency of each object. - .ng.

Imagery can be gathered and imported from various sources. The figure is currentlidisplayed on the default ~hotosh'bp cneq~erooard OaclgrOLnd (tn:s noicatas that vo. Website help: www. digital cameras.ADOBE PHOTOSHOP Anna Bailey Adobe Photoshop is a bitmap (or raster) picture-making application. you need t o create a flgure upon which you can place your clothlnp deslgns. painterly effects and allows you the freedom to create fashion illustrations from many startingpoints.Dsd). so you can work on specific areas independently. photo CDs and video capture. You wlll know when the Image Is saved correctly. or pixels for short (tiny square dots ofcolour). Go to the Image menu and select box wlil BDDC~I.psd) wlll appear on the file's title bar.html 2 Next. ov Boo no 600 D xels to the w~dtn helght.tn a transparent background) . BUILDING A FASHION FIGURE ON THE COMPUTER You w i l l need: Original drawing Scanner Computer Adobe Photoshop program b 1 To begln. it is ideal for creating soft. save It as a Photoshop file L. you wlll probably need to increase tho canvas space around the figure. ralher like playing "dress the doll"! You can do t h ~ s by drawing your figure freehand and then scanning It directly Into Adobe Photoshop. This wlll give you plenty of space to work. as its new title (flgure. drawing applications.comlsupportlproductsIphotoshop.adobe. such as scanners. rlere tne ca&s nos ocen Canvas Size an0 a O~aloqLe and 100 olxe s to tne ncreaseo relatively.'re working on an image f t e w. A typical file is built up in layers. A Photoshop file is a digital picture made up of a monolayer of picture elements. Once you have opened your flqure In the program.

For the purpose of this tutorial a white background layer has been created. under the brushes tab. or create a pattern from scratch. select the brush tool. enabling you to name this layer. in order to Increase the rpaclnq.3 To create a solid. 5 There are many different brush presets available in addition to the default selection. Thls will ensure that the pattern retalns its appearance when transferred to the figure flle. you may find the guides and grid helpful. Thls dropdown enables you to change the style of the currently selected brush. then on the optlons bar (at the top of the screen). uslng palnt brush or shape tools and/or the deflne pattern command. then highlight Brush Tip Shape and do the same. you can edlt Its behavlour via the dock. There are many ways of creating patterns In Photoshop: you could scan an existing fabric or pattern. Cllck on thearrow at the top right of the brushes dropdown and select the brush set you wish to open from the list. In which you can work on your fabric pattern. The rose brush was selected here. however. using the scatter settings to paint roses all over the pattern canvas. These can be shown or hldden vla the Vlew menu. 6 Once you've selected the brush you wish to use. background layer. You will notlce that the new colour layer you have created Is placed over the orlginal figure laver: new layers are always placed above the currently selected layer. if you wish. you can hlphllpht Scatter and drag the sllder towards 100 per cent. select New Fill Layer > 5011d Colour. Once you've selected the colour you w~sh to work on. or a pattern from scratch. under the Edit menu. If you are creatlnq a geometric pettern. to the right of the options bar. Now you can create your pattern. A dialogue box will appear. and from the brushes tab. or open a new set of brushes. change the brush. . . It also helps to be consistent wlth unlts of measurement herel This pattern file has been given a strong pink background colour. slmply drag the colourfill layer below the layer that contains your figure. their stacklng order can easily be rearranged. coloured. cllck on the brush dropdown. To access new presets. Thls tutorlel takes a more random approach. from the Layer menu. 4 Now create a new Photoshop file. Make sure your pattern file is the same resolution and roughly the same size as the flle contalnlng your flgure.

Now repeat these steps to complete your outfit. use the burn and dodge tools to add shadows and highlights. Draw a selection area around the skirt.. or draw a selection area to constrain your shadlng for more predictable results. A great way to present your design Ideas IS wlth a Web PhOt6 Gallery. using the colour plcker. Now you can start to create areas onto whlch your pattern can be transferred. . .Ic6 on tne co1o. to add a hint of dimension to the clothing.~v. co our to suit v0. cllcion the file containing your figure and paint the pattern onto the new aver. ~hotoshop enables you very eerily to collate and Mosr of tn s process is a-tomatea present #maqesprofesslona. Holdlno down the "ait" kev.r ~ll.r swstcn to the left of your colour~flll layer and select a sultable colour. : 7 Once you have created and saved your pattern Me. Tne brusn's movements w oe rraced onto tne pattern fw. you can change the strength of the shadows and hlghl~ghts you apply by adjusting the exposure level on the options bar. Select the Clone Stamp tool from the tool box.. AS a IImshing t o ~ c h yo4 may wsn to cnanpethe arcrqro..stratlon-simp Y o o ~ e b c. mahing It fairly stralgntforaara to d splay yo-r f'nlrheo fasn on artwork.a. Remember. Next.. .. Not ce rnrt tne se ect on area constralns tne pa rrt strones ensuring a tidy flnlsh. click the brush to define a source point. Go to the Select menu and choose Load Selection. return to the file contalnlng your figure. .na 8 Finally. You can either paint these on freahand.

HE FUTURE: GUIDANCE .

If you are not particularly confident about a piece. Italsofeaturns advice and practical recommendationsfrom industy speclaltsts to help you face the future confidently ln this competitive world. In the highly visual world of fashion. or seeking employment as an illustrator. Portfolios range from A4 to A1 in size. The purpose ofthis book is to help you moue through the artistic journey offashion illustration by learning imaginative techniques and thlnklngcreatively aboutfashion presentation. A strong portfoiio case enables you to keep work neat and flat. with illustration only a small element within the course. Use the samecoloured mount board. this is not enough to succeed in your chosen career-thereare practical steps to take to secure afoothold in thefashion industry. in a colour that complements your lllustratlons. However. Your portfolio is like a curriculum vitae showing the viewer what you are capable of achieving. type all text. so your portfolio should be a powerful self-marketing tool. 1 . wlth the colour palette kept to a mlnlmum and the same patterned papers uaed for the mounting as for the artwork.4x42 cm) types are most suitable for fashion artwork. Unless you can afford more than one portfolio.I PORTFOLIO PRESENTATION Abow New l30lanzlnrz fashlon~lllustrationpresentation board. It is important to note that you should only choose to show work that you feel comfortable talking about. Alone. Mountlnp fashion illustrations is a time consuming business. curled edges or tatty. but A3 (42 x 29.7 cm) or A2 (59. These are ohen known as "conversation piecesn-artwork that the viewer may want to discuss further. Use a quality adheslve and ensure all corners are stuck down neatly. Unless your handwriting Is beautiful. Protect your work by presenting it in transparent plastic sleeves that clip into the spine of the portfoiio case. smudgedsheets do not create a good impression. The most striking feature of the board Is Its slmullclty. Thls lmaqe has been planned meticulously. stralght. The Illustration has been created by pa~ntlng the figure in Ink over a paper collage. but It Is worth taklnq tlme to display your work to Its best advantage. These sizes ensure that the work is large enough to view but still portable. Whetheryou am applying to studyfashion design. The borders and text are In keeping with the image.thisfinal chapter aims toguide you through the issues that may be causingyou concern. Foam board can be used to raise areas of Importance. The running order of the artwork in your portfoiio needs to flow smoothly. or reduce them lo fit on a coiour photocopier. don't let portfoiio size restrict your creativity-add fold-out sections for larger pieces. It is often a good Idea to put your best pieces at the start and end of the portfolio. The aim is to encourage the viewer to keep turning the pages in anticipation of impressive work. Stlcking to the lollowlng rules has ensured the success of the above simple Illustration as a portfolio plece: Keep lines that should be stralght. portable case for presenting your artwork. This allows you to plan your artwork to fit your portfolio. leave it out of the portfolio entirely. and the student has evidently thought carefully about colourr and materlalr before securlng anythlng onto the board. or you are choosingfashfon illustration as a cares?. as they will become the most memorable. 176 Y Y f f y Whether you are applying to study at university. you need a portfolio+ flat. Take pride in your artwork by looking after it properly. throughout a project to guarantee continuity. it is probably best to decide at an early stage which size suits your personal worklng style. Effective visual communication is vital in the fashion world and first impressions count.

still-life studies. The flgures are arranged In a haphazard manner compared to thestralght Ilneup of six black outfits (Opposite. even though only one colour has been used. For continuity.te snetcny Dacdgro. Likewise. You can group your work in assorted ways. FURTHER-EDUCATION PORTFOLIO If you are applying to Further your education (after an art foundation caurse. below Thls portfolio collection Ilne-up (Laftr)shows flgures Illustrated using coloured marker pens. mounted on a olack-and-*n. You will not be able to carry garments to interviews. Much of the advice above is applicable. organize your work logically. keep a few sketchbooks in the back of portfolio. remember that professionalism is key. The interviewer will want to see wide-ranging artistic abilities In your portfolio that can be developed in a fashion environment. include any llve projects that you have completed. textile sampling and imaginative observational work. With this in mind. It should not be necessary to question you. including life drawing.no. Chronologhal order will show development. while varying project themes and styles will add diversity to the running order. Remember that the viewer will be looking at the work for the first time so your portfolio should tell the story of how you researched and resolved a brief clearly. Display a range ofvisual studies. wnich a so contains soec~flcaton drawlngs of the garments. GRADUATE PORTFOLIO When selecting artwork for your portfolio. grouping projects together for clarity. but focus on showing the course Interviewer the development of your creative work. the viewer should not have to turn your portfolio at all angles to see the work-keep the orientation of your pages the same. so that vour future potential is evident.Thls arrangement Is equally striking. and possibly some examples of written work. below). you will be learning Fashion skills on the course.the portfolio should have a slight fashion focus. At this stage. These are often projects linked to . on a fashion-based course. but vour ideas. for example). it is not your technical expertise or fine-tuned fashion illustrattons that are important. If you are seeking employment as a graduate. so you are reliant on your portfolio to impress clients. assemble a portfolio that shows your strengths and abilities. so the interviewer discovers as much as possible about your creative talents.Lapand oppwira. Although .

DIGITAL PORTFOLIO In today's technical society.you should always save your work digitally.An interviewer will be interested . too. reflected in your portfolio. to know how you coped with meeting deadlines. Like many professionals. photographs of your qarments are an essential part of your portfollo.You can also email work-sample Ales instantly if requested. PROFESSIONAL PORTFOLIO Your portfolio will have gone through many changes by the time you reach professional status. you might show a portfolio of work on your own website. resolution and save it onto a disk. usually donating fabrics or offering appropriate payment and prizes. Then be proud of what your portfolio holds and your confidence will communicate itself. This version of your portfolio can be sent to potential employers. You can see the origlnal sklrl from the Illustratlon has been teamed wlth other designs to complete the look. Scan the contents of your portfollo at: high .1L. a! reputable businesses. as some would rather look through the original portfolio than digital copies. By including live work in your portfolio. enthusiastic and keen to be the Nnest in your chosen field. . Howevet always check what clients prefer. aim for continuity. working to a brief. There are many ways of presenting fashion artwork. Creating a convenient digital portfolio can save you from carrying the real thing to interviews. too. Remember. Now you should have a clear direction and focus. and presenting your final ideas.Your portfolio will be either predominantly fashion design or promotional illustration. Many fashion companies also reward students with work placements or internships. Prospective emDloyers wlll want to see "the real thlng" as wall as the artwork. You can be more selective about the pieces you include and vou will be able to organize your portfolio to appeal to a specific employer. you demonstrate that you are aware of the industry . This one ( m p ) was Created by a student Uslnq watercdlour and pastels on tinted paper. are entering. The student has a Particularly good eye for cropplnq the Image for maxlmum Impact. you . In your portfolio. because they provide evidence that you are ambitious. the same student set up a photo shoot to record the creations further (Below). This creates a valuable snapshot of you as a potential employee. Once the qarments had been constructed. stunning imagery and a professional approach to organization and presentation. setting up photo shoots on location or in a studio. making your work even more accessible. dlverslty. The images in this section are all portfolio pieces produced by students on various fashion courses ranging from diploma to degree level. A fashion-design graduate should also include promotional photographs of garments. companies or industry specialists that have sponsored a university or college fashion course. Display in your portfolio national and international competition entries. Deslqners use many llustratlon techniques to enhance their garments.

. The "lesrls-more" theory has been successfully applied to this lllustratlon by a student who enhances her drawings on the computer using Photoshop. Aaaln. Left Below left In contrast to the previous Image. The original drawing has been adapted on the computer.right The energy of thlsflqure Is emphasized by clllowlnq her to explode across the edges of the Page.When preparing your portfolio pages. This effect can also be created by carefully cropping your artwork urlnq a gulllotine. a full flqure Is requlrod to promote the outflt In this digitally enhanced iliustratlon.comoi catlna thelmaqe wlth a fussy background. The sense of screnlty conveyed by her uncluttered approach Is emphaslred by a soothing colour palette and mlnlrnallst style of illustretion. the artist ensures that tnc fashion Item Is tne main r ~ o j e c t of nteregt: this time av not over. don't cram In so much that they becomecluttered. Below .

and probably the most important in the decision-making process. university Location and success rates. a good starting point is to search the Internet for possible study locations. Some cities hoid annual careers Fairs in large exhibition centres.Visiting such an event is an ideal opportunity to talk to members of staff and collect prospectuses. *What is it like to be a student at the institution? W h a t is the structure of the course? W h a t proportion of the course is dedicated to written work and contextual studies? Is there up-to-date machine~y. They provide a wealth of Information about course outlines. educational procedures. Prospectuses and brochures are the marketing tools that universitles and colleges use to sell their courses to you. so the correct course choice at this stage is vital. The next step. The aim of a universitycourse is to make your training as relevant as possible to a job in the fashion industry. taking the following checklist with you on the visit and noting the answers to help you decide on your future. It is no longer as simple as choosing to study "fashion". technology and facilities? Wiii I have my own work space? What are the studio and workshop hours? Are the staff team skilled and inspiring? What is the student-to-staff ratio? *Are there links with other departments? . Before applying. Attend their open days. courses with similar-sounding titles vary considerably Fashion design and garment construction dominate many degree courses. Most institutions offer a prospectus that you can order online or by telephone. Many prospectuses also include student opinions about what it is like to study at the university. and information about social activities and nightlife. is to visit the institutions that you are interested in. research the type of course that will suit you best.THE FUTURE: MAKING CHOICES FURTHER EDUCATION Fashion is a "glamorous" industry that many find attractive. packed with stands from major institutions offering art and design courses. resulting in much competition for places on fashion courses. but fashion Illustration end promotion are also often key areas. The following list demonstrates the variety of fashion-degree courses offered: Costume Design Fashion Accessories Fashion Art Fashion Brand Promotion and Journalism Fashion Design Fashion Design with Business Studies 0 Fashion Design with Retail Management * Fashion Enterprise Fashion Promotion and Illustration Fashion Photography Fashion Knitwear Product Development for the Fashion Industry When you have narrowed your field.

It is fair to say that the interviewer's main objective is to scrutinize your work rather than vour dress. but are asked to discover more about you. Don't try to be someone you are not just to impress. Ask a tutor to set up mock Interviews.unnoticed. Interviewing differs greatly from one institution to another. The following list shows a small range of questions that you may be asked at interview: W h y have you chosen this course? W h y do you want to study in . Questions vary. Choose something you feel comfortable wearing-your clothes should reflect your personality. It can be a good idea . or get your family to test you with suitable questions. Practise your interview technique beforehand. Try not think of this as a terrifying ordeal. too. Some review portfolios before deciding whether to interview a student. (name of town or city)? Did you come to the open day? -Where do you see yourself in five ycars' time? Have you completed any work experience? Which is your strongest piece of work and why? *Which fashion designer8 do you admire? Which fashion illustrators inspire you? What do you likeldislike about the fashion industry? *Which is your favourite high-street retailer? Which television programmes do you enjoy watching? *What are you reading at tilc moment? W h a t is your favourite piece of clothing and why? *Which magazines do you mad? *Where do you wish to travcl? *What was the last exhibition you saw? What do you like bcst about your personalityl Do you have any weaknesses? W h a t is your greatest achievement to date? Another issue for students attending a fashion-based interview is what to wear. Before making a selection.Are there links with industry? A r e study visits organized to major cities at home and abroad? *Where is the degree show held? *What have previous graduates from the institution achieved? Which key elements will the interviewer be looking for in a portfolio? How many candidates applied last year? Do I like the location and atmosphere of the institution? Is its surrounding area somewhere I would enjoy living?Is there student accommodation?What are the opportunities for socializlngl With all your queries answered and the decision made.. so there are no right or wrong answers. the interviewer wants to learn about your personality and your commitment. The interview is not an examination. but as an opportunlty to impress. so prcpare answers on a wide range of subjects. while others ask you to bring your portfolio to the intervlew and dedicate time to the questioning and answering process. Remember that questions are not meant to trick you. but a little effort in this area will not go . Selecting the right outfit is difficult if you are worried about the scrutiny of the interviewer. it is time for your university selection interview..

. specialized graduate exhibitions attended by members of the fashion industry and the press. or freelancing. illustrators work on a freelance basis.You need to be highly motivated 10work in this way.is another avenue to ex~lom. . you . Think about the questions carefully and answer with considered sentences. Believe in yourself and others wlU believe in you. Postgraduate study can be undertaken at any time. so label your work clearly with your name and contact details. THE BIG WIDE WORLD Many students embark on their education as a clear route to a career. This is probably a slightly tougherjourney. Listed on page 199 are some useful addresses giving information on finding employment. you are no longer a student but a graduate ready to enter the big wide world. being employed For aopecific job then moving on to the next when that Is complete. such as fashion. specialist fashion-recruitment agencies. before applying. industry-specific journals and publications. For an illustrator. Many graduates return to college or university to continue studying the subject they enjoy. remain calm and confident. Just ilke in the unlversity selection interview. or to gain higher-level training and qualiflcations to increase their employment opportunities. After many years of study. . need to be committed and passionate about your future. attending careers fairs and consulting websites. Many jobs in the creative field are not advertised.to wear a garment or accessory that you have made yourself to underline your creativity Most importantly when attending interviews at thls level. regional and local newspapers. To succeed in this way. find out about any available funding such as scholarships. and probably a great deal of expense. job centres and. but found through personal contacts.You should network actively and sell yourself. Conduct a thorough and organized search for an appropriate job vacancy. This is a costly process so. At this stage. Some employers may fund your study on a part-time basis if your new qualifications and skills will also be advantageous to them. If you are seeking employment. you will probably ask yourselE "How do I decide what to do next?" There will be many others in a slmilar position when you leave the safety of the study environment. encourage employers to think they will be making a mistake if they do not hire you. this is an excellent way to build a diverse portfolio with a varied range of c1ients. Printing memorable postcards or business cards for possible employers to take away is worthwhile to try to ensure you make a lasting impression. It is also a chance to receive feedback about your work and observe the work of others. and want to develop their work as far as possible. Your main aim is to make the interviewer think theywould be making a mistake Ifthey were to reject you. Many fashion Self-employment. This is a wonderful opportunity for graduates to network and establish contacts for possible future employment. but not an impossible one iFyou are dedicated. most importantly. Fashion scouts visit these events to hunt for emerging talent. you need to sell yourself. Many people become self-taught illustrators or attend night classes to gain extra artistic skills to build a suitable uortfolio. Postgraduate study is an opportunity to further your education. networking or by approaching an employer directly with a curriculum vitae. and may require an agent to help promote your skills. national. A degree course is not the only route to a career In fashion illustration. Most courses showcase graduate work in annual. as you will not have the support of an educational establishment. while for others it is more of a personal challenge-they enjoy a subject.

If you are unsure about what to list on your curriculum vltae. Residencies offer an income and work space In return for producing a work of a n that meets a particular brief. giving you inspiration and confidence. start by analyzing the skills and interests you have to offer In relation to your career choice. Becoming a resident at an appropriate location is an excellent way to gain experience and enhance your development as an artist. but about your life. interesting and up-to-date to make the best impression possible and get you noticed. you will be competing against a new set of graduates. skills and attributes that demonstrate your suitabllitv for a iob. Clients can range from schools. social life. SELLING YOURSELF Your curriculum vitae (CV) is a personal marketing tool presenting qualifications. When you return to the job market. The following checklist will help you to compile the relevant information for your curriculum vitae: . work experience.Your experience in higher education is not just about what you learned from studylng. galleries and communlcy spaces to industrial and commercial settings. hospitals. Mvlce about the best style and layout for a curriculum vitae differs wfdely. Make your curriculum vitae a personal record of your life that promotes you to your best advantage. hobbies and responsibilities. navel with a camera. Frequently asked questions include: How many pages should it be?Which font size should I use? Should I list my interests? The final decisions rest with you. All can provide evidence of the qualities sought by employers.A stand at London Graduate8 Fashion weekan annual event showcasing the work bf fashion graduates. so use your travelling observations to demonstrate the connection between this experience and your work. Taking time out to travel in between graduating and joining the workforce can also be a valuable learning experience. sketchbook and diarv to record different cultures and lifestvles. it must be accurate. Consider your academic achievements.

Think of ways to promote yourself further. it may takeyou a little while to know exactly whatyou want to do.visual curriculum vitae6 online in the form of a PDF fie. business card with contact details. Most importantly. and l e m y Fulvimarl Cells ofhis growingempirr as a commercially led fmhion illustratot: . always follow up with a phone call to a potential employer.* Name Contact details Personal profilelstatemenr Education Qualifications Employmentlwork experience Responsibilities Skillslabilitieslspeclalistareas 0 Achievementslcompetitionslawards lnterestslhobbies Referees As an artist.e. describes the role of an illuslration agent. Thefollowing interviews with industry profissionals may help you to decide the path you wish to take. Stephanie Pesakofi f i r n Art Department. David Downton tells of hls fascinating life as a fashion illustrator: Lysiane de Roy&t. Including images of your work will make you memorable to an employer. There are many ways of selling yourself effectively and making sure that you stand out from the crowd.send digital . When it is time to enter the world ofemployment. Some people . and postcards or photographs of your artwork.S).om Promostyl. discusses how to illustratefuture fashion trends. . consider the visual aspect of your curriculum vitae. perhaps creating a marketing pack that includes a curriculum vitae.

Stephanie Pesakoff is an illustration agent at Art Department. portfolio requests. freelance basis whereby they a n hired to illustrate specific assignments. who promotes them. or agent. I also think it is really important to meet the owner. However." . as they then have a better idea of the agent's job and more realistic expectations and appreciation of the agent. so 1think it's neccssary to like each other. CD covers. illustration is often considered a 'risky' or 'edgy' option. so it seems ironic that. Stephanie advises: "Do what you really love. in general." Art Department aims to secure freelance projects for illustrators in many areas. how important is fashion illustrntion in the commercial world? Stephanle states adamantly: "Not important enough! Historically. It is surprising how many art directors have never worked with illustration. And finally. I still consider a big part of my job to bc education. she says: "They must first be nice." When Stephanie is selecting an illustrator to be represented by Art Department. Art Department also represents photographers. In addition. I then have to love their work. When looking for the right agent Stephanie advises: "It's a really personal thing. The illustrator should like tho work that an agency represents and also the branding or positionlng of the agency. they handle all enquiries. fashion stylists. negotiations. Look at any issue of Vogue from the 1940s and you will find it's all illustration. editorial. Good luck. design projects. you can ask industry people." So. today. invoicing clients and managing all administration. based in NewYork. . and prop and set designers. and perhaps orchestrates agency promotions. there is a very rich and varied legacy of fashion illustration. communicative and professional people. yet take on only approximately four new illustrators a year. First and foremost. and so on. Stephanie says she is "always happy to see new work" and suggests "email contact with jpeg samples is the best way to approach an agency". greatly. Stephanie says: "It really depends on the project and can vary We have illustrators earning from $20. 1 thlnk it Is appropriate to check around and enquire about the reputation of the agency. and get a sense of whether you like and trust them as a person. Stephanie suggests: "An illustrator should have some professional experience under their belt before approaching an agent.anywhere . When discussing payment. If becoming a freelance fashion illustrator appeals to you. Many freelancers gain the representation of a reputable agent. book jackets. including advertising. This is someone you might well be speaking with on a daily basis. scheduling and invoicing. a good agent maintains portfolios and an agency website with samples of illustrators' work." STEPHANIE PESAKOFF ILLUSTRATION AGENT FOR ART DEPARTMENT ." It is not easy to get onto the books ofArt Department.Fashion illustrators often work on a self-employed.000 a year. the illustrator should do their homework and learn about vatious agencies. hair and make-up artists. Working as a freelancer involves learning to juggle several commissions at once. It's great to be able to enlighten them to all its benefits and possibilities. or even ask the agent if you can speak directly with some artists already on their roster.000 to $300. I think it's important that their style fits in with the look and client base of our agency. They receive enquiries from an average of flve illustrators a week. . and focus on having an individual and recognizable style. The services of an agent vary depending on the individual illustrator but.

During this exhibition Downton was surprised that practically every plece sold-this was one he refused to sell. he trained at Canterbury andwoiverhampton Art Colleges in graphics and illustration. Opposile. Doctor Martin's inks. Davld answers simply: "1 don't think it is possible to ach~eve a perfect illustration. mp I@ This watercolour illustration of a Christian Lacroix ensemble was shown at Davld Downton's first solo exhibition. David's first commission was to illustrate a cover for Which Computer? magazine. I'd dabbled in fashion illustration prior to this. in many ways the model is the drawing." Like Rend G N ~ uRen6 . but it didn't take long for his distinctive style of portraying figures to be recognized. top right Another tllustratlon from Davld Downton's flrst solo exhlbltlon shows a Thierry Mugler couture dress portaqed In fiat colours." Although David Downton describes his role in the fashion industry modestly as "peripheral". In London. oppusite. His friendship and many collaborations with the model Erin O'Connor has brought him further recognition. he explains: "It's great if used with skill and imagination. Forests have perished In the name of this! As an illustrato~ you should be constantly learnlng and striving to get borter!'The art materials and techniques he uses vary: "It depends on the situation. in Sav~le Row. David says: "There are no rules. or whether she is how a drawing ought to look. The independent and Harper's Bazaar (Australia)." David became a familiar face. David has spent time in Paris drawing the world's greatest models wearing couture clothes from D i o ~ Chnnei andValentino. "The job that changed everything for me was in 1996. cut papel. when I was sent to Paris by a magazine to cover the couture shows. Jason Brooks showed us all how it could be done!' Aspiring iiiustrarors are often concerned about capturing their . I have often completed 20 sketches beforehand.DAVID DOWNTON FASHION ILLUSTRATOR Gi B = 3 opposrle. below In 2003." Although computer-generated work is not for him. and came at it via a circuitous route." When talking about different styles and techniques for fashion illustration. I then take maybe half a dozen photographs. drawing beautiful women has become second nature to Davld. In an article forThe Association of Illustrators. "I didn'tset out to become a fashion illustrator. and 1 8 described by hlm as a "happy accident". from educational books to packaging design. who has captured the likenesses of some of the world's most striking women. JoeiyRichardson and Anna Piaggi. this time working on watercolour paper. but then I'd also done ail the usual jobs that an illustrator tackles. London. Following a seven-hour sitting with Linda Evangelists at the GeorgeV Hotel for ~lslonnalrw magazine. using pen or graphite on cheap cartridge or layout paper." says David. Bouch6 and Antonio Lopez before him. This image became Iconic. ." David also advises: "Drawing from a model (famous or not) is vital. pencil and lots of Rotring black ink-I am keen to develop my skills and would like to try oils and I am going to take a screen-prlntlng course. Downton says: "She understands how to edit herself for the page. ForThe Association of Illustrators. Then I makc between 10 and 20 drawings of each pose during the sitting. Born in London. David says of Erin: "I can never decide whether she looks like a drawing. Thts watercolour Image was also mapazlne. Elizabeth Huriey. in the lavish and illustrious Paris haute couture shows. it could be argued that it is set firmly in the centre. I use watercolour. while trying to maintain the spontaneity of the first drawing': The importance of practice cannot be emphasized enough for David: "To get one good fashion illustration. Paioma Picasso. David Downton drew Carmen at the Hardy Amles Couture House. The Daily Wegraph.. In 1998. Iman. He has creatcd portraits of Jerry Hall. His reports from the collections have appeared in The Tlmes. back stage and front of house. Carmen. or my mood. "refining the image. On graduating. I think it Involves a lot of work and a lot of drawing and my mantra is always 'keep working until it looks effortless'!' It is fair to say that David Downton's working process is far from effortless. the job. transporting him into a very different environment. selling lnstantlv. featured as a cover for the Qlog~nph Carmen has modelled for more than 60 years. he describes how he captures the moment with a model such as Erin O'Connor: "Between us we come up with a pose that will look good on the page and will show whatever is interesting or important about the clothes. She Is so wonderful to draw." When the preparatory stage is complete David begins again. gouache. But hope springs eternal. he said: "I coiid retire now-it doesn't get any better than this. It Is still well-remembered and Is pictured on cards for The Art Group and Ikea. cut paper and acetate overlay." Asked how he achieves the perfect fashion illustration. because she understands what ~tis that you see and knows how to make pictures.

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". David Downton spent days drawing LIIV co. He describes I t as: '. crealba a fasnlon Illustration llludtralion of Erln Otonmr bwclrsteqs came bdtly: .-. $0 much of your work IS done.A asrlect .e and Erin O'Connor. . They wear tns clothes SO well. Job-when you draw from models Uke these.~t a GallEano/Chrlrtiah Olor M&+e CoutUn summer show For this Image for a Topshop advertisement.

Paris and NewYork. following a brief interlude when fashion illustration fell out of favour. 'it's peripheral!"' . You can work editoriaUy in newspapers. I was never really the illustrator of the moment. thankfully. magazines and publishing. and Rend Bouchd for his way with a likeness. for card companies. and then going home to a real family situation. but David advises: "Don't worry about it. and never having been exactly 'in." Flnally. or alternatively pursue fashion as'art' rather than illustration. what for David Downton is the best thing about his Job as a fashion illustrator? "I don't have to shave! Independence! Drawing every day1 But most of all having a window onto the world of couture and all its craziness.When speaking of his own fashion-illustration career. Above all. Today. David has an eye on the past. He admires the work of Rend Gruau for his peerless graphic sense and glamour. in advertising-in conjunction with designers or fashion houses. David recognizes his many achievements and says: "I have been lucky enough to work with some extraordinary peopie-designen. the industry is growing again. So. and be verypersistent. some of the most iconic faces of our time-but I think probably my greatest achievement is to have had solo exhibitions in London." As well as looking to the future. whether you finally end up producingworkdigitaUy or not. As 1said before. Very few people start out with a 'style' as such. I've also never really gone 'out:" This theory has made for a successful career spanning over two decades. It will evolve the more you work-in fact. models. Eric for his draughtsmanship and consistency. and work with galleries and on limited-edition prlnts." David is keen to point out that. David believes: "It is important to never really be in fashion. most illustrators work in several styles. my advice would be to keep drawing. there is also a lot of work today.own style. David thinks Mats Gustafson is the illustrator's fflustrator. He acknowledges: "There are a Iot of illustrators out there--but. I think drawing is at the centre of it.

Home. Each fashion trend is divided into various stories as outlined in the images (facing page). Swlmluear. Lysiane de Roybre. It is very important to know as early as possible everythlng that is new on our planet. fabrics and colour details destined for the future. Shoes. Australia-Promostyl's influence is truly felt around the world. as well as the legibility of the items. Baby-Layette. Created in 1967. industrial designers.Waterman and Zara on their books. marketing people.Junior." With its offices In Paris. design and trend research. NewYork and Tokyo-and Its wldespread network of exclusive agents spanning Europe. The Head of Communications at Promostyl." To make these books as original as possible. accessory brands. fasnlon IILstratlons ana flats that feature In Promostyl's m n d B w k ~ a q e sThe . Ultimates (for young women). Asia. trend-forecasting companies offer a prediction service to members of the industry. Illustration styles usually vary accordlnq to the story of the season. Coca Cola. and informatlon is continually gathered through travel. Swarovski. cosmetic and sports companies. Chanel. Men. we ask them to scan their sketches and add fabric and colours onto them using Photoshop. we have a network of agents. Promostyl creates 15 different illustrated m n d Books per season." states Lysiane. colours and the names of the trends. It is important to speak languages in order to be able to work with various countries around the world. Promostyl's Trend Books are published 18 months in advance of the season they are predictlng. Sport and Street. the Pend Book has become an indispensable tool for fashion and textile professlonals. "We select an illustrator because of the allure or the modernity of their sketches. says: "Curiosity and lntultion are very important qualities in this business. . rough sketches. badges and logos of the future. Children. and all those whose products must be in step with changing trends and lifestyles. including Colours. Launched in the early seventies by Danielle de Diesbach. Fabrics. with some illustrators working three to four months every year for us. Women. When asked which qualities Promostyl look for when employing a fashion Illustrator. fashion designers." says Lysiane. markers and the computer. garment-makers. of Promostyl. pencils. Today the m n d Book is a full-colour publication created uslng computer graphics with many colour fashion illustrations. the international press and by consulting the Internet. A selection of *omenswar sno menswear In the constantly changing world of fashion.LYSIANE DE ROYERE PROMOSTYL I . be fashion-orientated and passionate about their work!" Lysiane also explains: "Our illustrators come from all over Burope. Promostyl now has a large international client base. Promostyl employs just over ten fashion illustrators. prints. colour ranges and garment shapes. Promostyl is an independent company specializing in style. L'OrBal. and are compiled for spinners and weavers. Promostyl employs fashion illustrators on a regular basls to help sell its trends. The pages are filled with themed fashion illustrations. Orange. Lysiane replies: "They need to have a good sense of themselves. in volume and in flats. At Promostyl. Very often. Brazil. 'X Promostyl fashlon illustration needs to be nice to look at but easy to understand and translate into a garmentflhe illustrators are given as much information as possible to complete their work: a brief. Influences. "They are employed on a freelance basis. These show clearly the accessories. Knit and Menb Body and Beach Wear. Lingerie. including companies such as Adidas. "They use a range of materials including pens." she explains.

Colourways for future seasons are also outlined.Promostyl nrr~dBookpaqes display future trends for fashlon. . fabrics and accessorles.

So. . creator of the doe-eyed fashionable girls that grace numerous products worldwide. "My work is both my career and my hobby I like to make statements with the jobs I take. I am very proud of my fashion-illustration career. and they often held up my work as en example for other pupils. producing conceptual art. to generate an income. "I overstep gallery structures and head straight for the shopping mall. NewYork." says Jeffrey Fulvimari.JEFFREY FULVIMARI COMMERCIAL FASHION ILLUSTRATOR a .we do not all have to be on the same page. He originally trained aa a fine artist. He has launched his own range of illustrated clothing. His fashion brand has been steadily building in Japan since 1998.at was as far removed from my education as possible. nightwear and greetings cards in large department stores worldwide." A selection of Jeffrey Fuivimari's illustrated products. I don't ever want to be labelled as 'prejudiced' in the fashion world. However. bags. amongst Other thlngs. stationery aod toiletries. he illustration drew me in because it was decided on illustration as a career. HIS trademark doeeyed girls feature on. He says: "I was encouraged by my teachers to express opinions. compacts. In the art world." says Jeffrey "I was at my happiest when a magazine wrote about my merchandise from both ends of the spectrum in the same article. everybody should be different. I won a big art award when 1was very young." Fulvimari has made his name by embracing the commercial world with open arms. and Cleveland Institute of Art In the USA. Jeffrey's highly successful fashion illustrations have appeared on everphlng from Stila cosmetics end LouisVuItton scarves to a Grammy awardwinning CD cover for The Complsts 61b Fitzgerald Songbooks. bags and wallea across the UK and USA. I wanted to do something . and his "Bobbypin" girls feature on teenage cosmetics. 1want my audience to be from all walks of life. so I guess you could say I had a following since first gradet" Jeffrey continued his education at The Cooper Union. "~ashlon not museum art. Even as a child Jeffrey was always enthusiastic about art. to have both top-end and cheaper fashion ranges featuring alongside one another sally told my story.

looking out onto a rich landscape of flowering trees end purple inountahs. Soon he was working for American Vogw and the department store Barneys without rhe aid of an agent.The intriguing invitations became a talking point. He also warns: "1 chose illustration because 19 years ago it seemed to be a dead medium. Jeffreywas given a piece of advice that has guided his life since: "Aim hlgh--and you'll go straight to the top!' His first job was illustrating a nightclub invitation for a weekly event called "Smashing" It was a folded card with each illustrated panel telling a story. with a nude child standing over her on a columned portico. Admiring the simple lines of Charles M. sun-drenched Daybreak." Another creative influence was the work of Maxfield Parrish. Go lo the top.Schulz-the creator of Snoopy and Charlie Brown-Jeffrey explains. he had guts and a determination to succeed. Hc advises: "Launch your career In a big city. I limit the amount of art I look at because I want to make new art for myself. I had confidence and self-belief and just willed eve~ything to happen. created specifically for reproduction as an art print in 1922." Jeffreydescribes fashion illustration as "a notion of blank pages being filled with notes. and people in the fashion world. "Schulz's artwork is perfection-there is not a leaf our of place In Snoopy's world. such as Anna Sul. you have to be indivldual as there are so many illustrators out there!' When discussing his inspiration. I've never stopped working since. 11was easier to get to the top and make some money Now. as I don't want to be influenced by their styles.The atmospheric. started to collect them. became his signature piece.which depicted a reclining classical female figure in a toga. It is a starting point that some people take and turn into a career". Unafraid to voice his own talents. he replies: "I don't really look at other fashion illustrators much. and don't bc afraid. Parrish's first work. became 1 d I 1 I1 J I Fashion illustrations by Jeffrey Fulvlmarl featured Qirls leaturi" his and hls hallmark auirkv captlons. who was one of the best-known illustrators in America.Long before he became a successful fashion illustrator. .

The frustration when things are out of your control is also difficult. The truth is I often find my characters very close to home. how could I refuselThis was Madonna asking! I thoroughly enjoyed working with Madonna. is there anything Jeffrey Fulvimari doesn't like about being a fashion illustrator? "Oh. I do not have a portfolio as I am approached personally through my agent for new projects. yes''. when Madonna asked him to illustrate her chlldren's book. The English Roses. I'm a total outsider really-a fly on the wall. I live in an imaginative Woodstock house that can only be described as the Hobblt meets Heidi's grandfather! There is even a friendly bear living in my yard!" . I have worked very hard to be in this position. as Maxfield Parrish once did. written by Madonna and lllustratad by Jeffrey Fulvlmarl. he argues: "I rarely go to fashion shows.TtteEnglish Rusev book. "I love his work so much that 1 sign my illustrations with just simple Initials. he remembers that he was initially unsure: "I had held off illustrating children's books for so long because one day I would like to produce my own. because I did it myself-it is an intensely satisfying role. In a top-secret mission. though it has not been an easy ride. so I hope my involvement with the book would have made her very happy. Madonna's team conducted a Cinderella-style search for the person who could bring her English Roses to Ilfe. Sometimes I work for days on a project without seeing a single soul. found on many American families' walls. When Jeffreywas first approached." When asked about the greatest element of his job. an almost instant icon. My advice is to try and turn any negativity around. Having a positive attitude is vital in this game!" With so many commercial fashion-illustration projects under his belt." Jeffrey caught the world's attention in 2003. The best thing for me was my grandmother was named Rose." He also poinb out: "I am very lucky that I need do vely little self-promotion or marketing. But. I admire how many people Parrish's art has touched. I was involved in the crcation of the book at all levels and the art director for the project was excellent." So. you wouldn't be alone in thinking Jeffrey Hves a glamorous lifestyle but. Collect rejections and disappointments. when questionod about his role in the industry. 1 just enjoy watchlng people and then using the characterr in my illustrations. he answers: "I get all the credit. because with every ten rejections comes one acceptance. they sent people all over the globe to see if the "illustrator slipper" fitted. he states "the isolation is so hard.

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.r Drfl. You Cnrr bYnd l~is~rlmtlort irr Iir~(~r:vthing.crlsr~~~rl Leonardo Da Vlncl l l r r Notebooks ofL~wrrrrruioDo Vi~rri:S~lectiorrs. ZOO2 Julian Seaman. Mass. I.s'lorrr'r~ul rotlw AlrsrtrlUuok.oshlot~ Andrew Loomis. 1949 Oxford. Abbot. Rockport. Batsford. Rockport.lgItt ( : u r ~ ~ ~ l o s i rNewton i r ~ r ~ . So~rrrrtx~. North Light Books. NY. Batsford. The Vlking Press. 2005 Jennifer New.'iglrre Te~nplairsforE. 1996 Anne Allen and Julian Seaman.c:AI:onrl)lerr Chrirl<<. ~ ~ i p i cBatslord. and not as a bible to be followed word for word.slr: Evplurl~g 1110~~nlrlal&~ws'Skercl~Ouuk~ London. Ilrsp/rr!rl: Hurrt Crc~(1r111elfoplc 'l'lrirrk. Figrrrr Uro~uirlgorrdAr~uru~rry Bath. C & T Publishing. Book Industry Services. ~s. ~ r i ~ rLark i . 2003 Holly Harrison. Octopus Books. Pr~slriort loI'urtfoliu f'rcsorlrrtlon.rlorr. New Jersey.. Cf. Warner Books. London. 1998 DOrte Nlelsen and Kiki Hartmann. 2004 Skerclrlmok: New York. 2002 2 THE FIGURE 100 Wf~ys trr Pcrirrr IJ@f~pkarrrl Flgrrrt!s IHoruUirlYorr i ~ n i i rTIrflt9. Mass. Prentlce Hail. 1997 Kathryn McKelvey and Janine Munslow. Atr Illllotirrd/ull trl Umruirzg .. Princeton Architectural Press. WatSOVGuptill Publicatlons lnc. ZOO1 John Raynes and Jody Raynes. Fairchild Group.IN SUMMARY Fashion Illustrator is intended as a rewarding reference book of practical advice and inspirational ideas to form a basis from which individual creativity can develop.atlnr~. David S Charles. Mol~~!l!. Ill~r~nntir~gFflslriorr.l'~rspi. Figlrrv D ~ a l u l r ~ g F o r A lWorlh. Oxford. Oxford World's Classics. Inspirrrriort IcI<!crs:DvnlilRtjl Sorrrcrl?nfik. Nancy Riegelman. London.st.Draa. IlI~rsnarlorrJor Frrslrivrr Lksigrt: I l u n l ~ a S r eto ~ )t~ lru~rlriorr Piglrrv..Rockport. Phaidon Press. 2005 Robert Beverly Hale. b1o1oto Drnw Tlre Hrrmurr Fkrrrer. Mars. Mosler Clnss 111 I. 2001 Carolyn Genders. New York. 1991 Bina Abllng. 1. Landon.r. Inc.. Rockport Publishers Inc. Workond Flrrfl hrspi. You will find recommended further reading. "To be irreplaceable in life. Coilflbornrir~lorrn. A&C Black. Rrrrfl nuruklrrg.. Aian Fletcher. Concord. TllrArtofLookir1gSide1~&ys. 2001 Gustavo Fernander. 1991 Sonptroob & A l h r r r r ~ s M f ~ f l e S i ~ ~ & p l ~ ~ BNew o f l t York. London. 2005 Other Adusrrtlrrws 111 Oookntrrtlrr~Rockport. Fflslriurr Artlst:Dmruirrg~xlr. AlterwIRooks. Batsford. P~OSFJS~OII~IIP~IS~IIOII I l i r ~ s i m t i oLondon. Princeton.. Jan Bode Smiley. fortlrn Arrlsr. Amsterdam.rir~rres Diana Constance. Books. and a glossary of important words. Violette Editions. Rockport Publishers Inc. 1979 John Raynes. Uolarrce. Parragon Books.lt~gFnr Frrsllio~iDuigrr.he Nrrrk: Ar~alorrrjPrnpor. As Coco Chanel is reputed to have said. The Pepin Press.ikrrrr. 9kInods. t Central islip.otlorr. 2002 Patrick John Ireland. 1991 Illrrsrmtlnrr. London. l l t ~ ~ New York. Al?i. and for life in general! The following pages offer useful information to help you on your journey. 2005 Paul Smlth. ZOO2 Kay Greenlees. 2004 Lynne Perrella. London.elll.sntrdArrflrlWrrrrrols. Burke Publishing. ~~. Tllc Admrrcctl ~crlslrio~! Drr~lrritg '~lrcRfrsi~P~~l~ London. addresses and websites of institutions and other worthwhile contacts. Blackwell Science (Ulo. AlrsrcrlUoflrcl nookRnsIcsnrrd H ~ ) ~ r ~ d : I ~ o r O Scrnpbooks. 2002 Ellsabetta Drudi and Tizlana PaCl. 2001 Petrula Vrontikis. . 2003 Sandra Burke. Prentlce Hall.xplorirrg~rrdCrwfili~lg i'ersorlol iJflgdds. one must be differentn-excellent advice for your sketchbooks and portfolio.r. New Jersey. Dmwirrgflorn Life:Tlrc/orrr~~olusA~~~. 2005 frttfl Skrtulrbooks: C. llreDccoral~rlPu~r:lorrrrmls. 1995 .ro11lyNew York.iglr. C1wutl11gSkclch6ooks~~rBr1b1nido~rr arrd lextileArti. FURTHER READING 1 INSPIRATION Gerald Celente. 2002 Gwen Diehn.

7he Cot~tple/r BuukufR~sIrIorrIllosrrr~rlort. Rockport Publlshers Inc. Dorllng Klndersley. 2002 Kathryn McKelvey and Janlne Munslow. Alatract Pcrirrling I l ' ( : h t r l r ~ t ~ ~ f r ~ r d S ~ r New a~~ York. Foclol Exl~rvsslonr:A VlnccrlHefervr~cclfirArtlsg New M r k . Blackwell Publlshlnq 2005 Davld Dabner. 1994 Bridget Woods. llor~um Tom Cassldy and Tracey Diange. Blackwell Publlshlng. n SZOO5 Ray Smith. Colort~. Morrdopflglle: Muclur. 1996 London. ~ k l o r ~ : P I ~ o t o ~ r f ~ ~Ur~rrirI~r& ~ I r ~ M c eLondon. Tire Rrrrdn~rierirals 4 PRESENTATION FOR FASHION DESIGN Anvil Graphic Design Inc. 2005 Sarah Slmblet. Rockport. giu~ Watson. Laurence King Publishing.rcrr. Watson-Guptlll P ~ b l l ~ a t l ~ I~c. Tdm Editions. 1996 Sharon Lee Tate. Dmrvirq IHgrlres. Berlin. London.CorriDlrrirl~:irtkJe~ Publications Inc.shiorrCorrrpuritrg: Drslgn ?iil~t~iqrruscmd Altlko Fukal et el. Die Gestalten Verlaq.. London. Laurence King Publlshlng. Holly Harrison and Paula Grasdal. Tl~. Thames and Hudson. 2004 WorkslrupfirArtlstsarrdLjrsil(.rtr1orr Render1t1. Arady Wnrhol Fnslriotr. Graphic-She Publishing. Dlgirnl ArtStrrdla: 'Ikcl~nlqtres@r. 2003 3 ARTISTIC TECHNIQUES Blna Abllnq.. 2004 Martin Dawber. Laurence Klng Publishing. 2002 Martin Dawber. t l d . Marlborouqh. Oxford. t'ntarfr nrrd k11rrteSorrmebook:Ai:orrrplcrc (Brldc to Using Color 111De. Parls. luith arr Irtspiratlcrrnl Gnllery oflJir~ishecl work^.Hove. 2000 Lalrd Eorrelli. I:irsh/orr I>cslgrr:I'ro(!#ss. I ~ r l i Verlrwrsn.. 2004 Frvnl]flfirc~. 2004 Berlin. 2003 lo~r Now. Blackwell Sclence (UK). 2003 Tunbrldge l ~ r ~ ~ . Uvrijivd MU#SCI@! 111F c r . London. Fn. 2004 Lalrd Borelll. Thames and Hudson. 2003 Melvyn Petterson. B d . London. Collins & Brown. Batsford. 2004 Prirrlirig 1. Esser~tlnl CAD. rulifnr IJurr arid Wash (Collins Learn to Paint Series). Prentice Hall. et al. F~wJet:n. ~ s l r l o ~ t l zThe e . Watson-Guptlll Bonny Lhotka. ~ Tokyo. York.I'uu(?lr. 2005 Delicatessen. London. 2004 Brlan Gorst. 2005 Richard M. I l l ~ ~ s r r n Wsklorr: r l ~ ~ ~ Corrtapt to Ctmtiotr. Biackweli Sclence (UK). Fnslrlon in Color& New York. Burke Publishing. Abrams. Oxford. The Crowood Press. 2004 Hendrick Helllge. Imngcrrrak~rs: ~rttlrrgh'dpI:c~sltion Illr~strcrtio~~. I~a. Publlcatlons Inc. Chronlcle Books.ul1/1 nrrdltior~(rIArLM ~ ~ t u r i uNew b . = = 197 w ? =i Y E i 2 5 HISTORICAL AND CONTEMPORARY FASHION ILLUSTRATION Francoise Baudot. TlreElurrte~ilsfl~Doslgrr. 2004 Hazel Harrison. Corri~~~trrcr'-AIded Pattelrl Deslg. 2005 Steve Caplln. New Jersey. Purl crrrdMorrse. Fnshlori Wrwflstlng.. 2001 Jennifer Atkinson. Terry Bond and Alison Beazlay. i:ollqeSourtebaob Bnlrloritrg tlrr Aftorrd Tecl~triqrresofColltrge. r Frcrflot~orrred~:irls MAY. Mass. NetuIBshiori Illnsrmtirrrr. 14~r~rrl108. Batsford. San Francisco. Colotrr krncasrirrg. 1988 Robert Klantcn. London. Madera. Dorllng Klndersley. 2002 Paul Carenices and Laird Borrelll. 2004 Bethan Cole. New York.raphlcDos$r School: ~io~lnclpleso~idP~crcticesofGruphicUoslg~~. Illssluc: Corm~ii~wrglllrrrhatlorr crnd Its context. W ~ l l d ~ I ' i ~Berlln. 2003 Faslrlorr Llesigrr: Ill~~str~rtlorr llrarireBonrcls. 2002 Delicatessen. Thames and Hudson. London. Lausannne. Thamer and Hudson. h Steldl Publishers. ZOOS Lawrence Zeeqan. Apple Press.IpDrcrr~Ir$g. 'l%rA~~~lll"'r"lIll~/trsny. CF. Prentice Hall. Die Gestalten Verleg. 2005 Robert Klanten. Oxford.pstep Vlsrrnl Ulrvctury. Harry N. Thames and Hudson. Angus Hyland. Collins. Artof&~slrlo~rI I I ~ ~ s r r u t lCorte o ~ ~ . 2004 EL Brannon.~ nrrd Pwdrret Dnalul~nrrtrrr. Parls. Sryllsltly Urcnorr. Batsford. New York. 2004 David Hornunq. 2004 Vicky Perry with Barry Schwabsky (Introduction). Oxlord. Falrchild. 2003 Oel Loan and Ceclle de Kegel. ZOO! Angus Hyland and Roanne Bell. ~ l Gestalten e Verldq..eUratuif$gfloob of'lllrrstrution. 1997 Janet Boyes. London. Happy Books.. I+rsh/orr I l l ~ r s t ~ n l i irr o r E~rrope. Pi~skiorrUesigri Umruirt~Corrrsc. London. Edltlons Assouline. New Jersey. Tunbrldge Wells. 2004 .:A Wendy Jelbert. TIto Curi1plutu011Pdlriler. London. (compiler). New York. Jones. London. London.Irt~ro~ar~brr arrd Pr~~c:rlts. (.l?~ttirakur. Falrchild. 2005 Sandra Burke. Mltchell Beezlev. ZOO0 Camerawork. Search Press Ltd. 2003 Sorrrn~ljook. F~lsliinr~ Steven Stlpclman. Search Press Ltd. Rorirnr~dk. l. I ~ ~ s l ~Illrrstrntlot~ Lalrd Borrelll. Ava Publishing. Wotril to 6ja: Cotitenipururry I1Balruliort. Wells. T l ~ e E n e y c l o p e d i u o f U ~ n l u l r q I b h ~ Hazel Harrison. London. Tlte h~stflrtlI~r. F~lshlorr Iiltrstratlort N u t .slg11. London. London. 2002 Qiuut irt I ~ l r o ~ s i t oThu p : Arf ofCrwtirrg Photor~uilsNc Mort~nges-l$dntorl firr CS% Focal Press. Gingko Press. Antu~r/ub. Oxford.Gupt1ll ~.t Rshlorr Illrrstrn~'ors Simon Doonan.Mark Simon. 2005 London. Wtrcrrl.Italy. Blackwell Science (UK). 2003 Yajima Isao.g with Colu. Edltlons Assoullne. y i:rrtmrlrrgs. Thames and Hudson. 2006 Kathryn McKelvey and Janine Munslow. 2004 Caroline Tatham and Julian Seaman. Tl~eLtcyclope(llcl ofWi11rrculowr %chnirlrr#$:A Atop-b. London.

Allce Mackrell. Hungry Minds Inc. Ctwative Cbrnputer Fashlora Desipa: WlSEr Abuk Illurtrvtor. 1983 Pao b Paws. De~nunlfwt. Central Islip. Costume and Fashion Press. Can#rOppnr~t$rrriri#s ira tlrePushbri Incl~tsfty. 2005 Sue Jenkyn Jones. AdobePhomshop for Fnshlon IJeslg. Sones. Octopus Books. 2003 M. London. 1998 Robert A.. London. Ibshlan Dmwlrbg 1 1 1 Vogite. Carsell. Japan. ZOO2 . 1984 Linda Taln. Ltd. Ltluh~rikD~nwLags~ 6 TUTORIALS Jeml Armstrong. ~ l ~CarwrCt~ldu. Fairchild Books. to be published 2007 Janice Saunders Marerh. North Llght Books. 2004 in Nuw York. Vbual QulckSeart Guiclu:Phoroshop CSFur' Wlndozvsand Maclnmsh. London. Adobe Ill[rstrnrorforPasi8lon Doslgn. Thames and Hudson. Prentlce Hall. London and New YOrW. new edlt~on by Jan Eaton. Portfolio P r ~ ~ r n m ~ l o w ~ r PDaslgraa:s. 2003 M. second edltlon. Hogan Paqe. to be publlshed 2007 Susan Lazear. Michael Roberts.t. Tha Art ofVo8ueCovors: 1909-1940. 2002 Mary Gehlhar. Oraphksha Publishing. Prentlce Hall. G e ~ r l r r g l r a r o ~ . London. 1989 Margaret McAlplne. Laurence King Publlshinq. So Yurr Wnrrt to Work In &shlon?. 2006 Mar31Thomark Dlctlorra~y ofLnbmldury Sti~lws. Fn8hlon lll~arratior~ M. Coward. London. 1998 Peter Vogt. Die Gestalten Verlag. Kathleen Colussy. 1942 w~lllarn PacKer. The Studlo Publlcatlons. New York. Dearborn Trade. S. l%eIJmhlor~DMrig~asrSrnrvluul Grrlrlo:Art Insicl~r~~LookatSMr4t1~8gancl Rrrrrnlrxg YorwOwlt Pashion Busl~tuss. London.McCann Inc. 2003 Susan Lazear.8 . Berlln. S11wvtwiscCtriclfto Froelar~ceDe. Fashion Drawing. CVxfor Uanirnles: :lKBditliaon. Anare Leon Talley and Manolo Blahnlk Manolo. Kaplan Publlshlnq. f i v m macll to Pen Twl: Unrlernnrtcltngcmcl CrvatlngtheDlgltal FashlanImage. Klanten. 2006 with AdobePhorosl~up h New Jersey.London.FflbricunclPrlna Val Holmcs. 1997 Francis Marshall. B8t~ford.. London. 2003 London. 1983 Wllllarn PacWer. New Jersey. 2004 Ela~ne Welnmann and Peter Lourekas. 2003 Theo Stephen Wllllems. 1988 Anne Matthews. An Ill~~strtededfls~ry of Fashian:500 Yfarsof Fashion fllbrsnutlan. 2005 Astrid Katcharyan. Brockhampton Press. SpOllariC. . 2005 Steve Shlpstde and Joyce Laln Kennedy. 2004 Kevin Tallon. 1999 Davld Ellwand. New York. Cettitzgbbr in Farhlnn 13aslgr1. New York. Chatto end Wlndus. Checkmark. Batsford.vlgrr nrtdIilirxtrarl~ti. Canada. Faslllon Design. Rr~rderl~l. Canada. Peachplt Press. Ballatine.lrldu IUII Cnrra' Ira Faslrlon. Hodder Wayland. Clln d'oe1l:A New LaokatModern 1611~stratlot1. New YOrk. London. Ilbetrallo~r:Barlcs/urCcrrw~~. Can#rsinRuhlon. Prentlce Hell. Johnston. et al. John W~ley and Sons. Prentlce Hall. Encyclopucliauf MuckinaEmbrolclery. io~~:A New YorW. NY. 1998 Elaine Welnmann and Peter Lourekrs. Vlsiral QuIckShcrt G~dlclu:lllusastor C S For WlnclolvsandMcrcinrosh. New Jersey. 1985 Pater Sato. Peechp~t Press. R. New Yark. Williams. Book Industry Services. Falrk-crll~y: ThrPashlort ( b l b t i o r ~Massachusetts. Anna Plaqql. Vogrru c.lgksh~n. 2004 7 THE FUTURE: GUIDANCE Noel Chapman and Carole Chester. Candlewick Press. New Jersey. New York. 2003 Anna Wintour.j # z 5 n = P . Steve Greenberq. Svtuirgfor Durnnries. Felrchlld. ~sI~lo~ New r York.

DesignWales PO Box 383 Cardiff CF5 2WZ TSl0845 3031400 Emall enqulrlesbDdeslgnwales.rollterMquzlrrc A~~nuflur~zrtfe Bluuni.~nbr~lderer$gulld.org. Faclhlon Awa~neES Direct (PAD) 10a Wellesley Terrace London N17NA Tel0870 751 4449 Emall inf0@!ad.WW. Including self.Qrp. especially with export enterprises. Textlles and Footwear Unlt) I Vlctorla Street London SWlH OET Tel+44 (0)20 7215 5000 YfWW. a reference llbrary and development grants.prlncestrust. Their ssrvices are provlded free to all buslne~ses In Wales.deslpnwales. events and workshops.uk In addrtlon to hav~ng an excellent contemporary gallery end crafts bookshop at this address the Crafts Councll offers many services.orp. Thnk 10 lk.uk The BFC supports Brltlsh fashion designers and manufacturers.le Ii~twnntiuiar~l 7k.uk An organization commltted to helping young dehlpner~ succeed in their careers by brlnglnp students end professlonals together at Introductory events. the DTI also provides information concerning export regulatlons.pov.TRADE PUBLICATIONS AND MAGAZINES A. The Brltish Pashlon C ~ u n c U (BFC) 5 Portland Place London WIN 3AA Tel+44 (0)20 7636 7788 www.uk A government department that advises UK businesses on legal Issues. with a llvelv Programme of exhlbltlonr.uk The Prince's Trust glves business advice and Profess~onal support and awards funding for young end unemployed people planning to set up a POtentIally successful new Idea In business.uk www.com w.rtile V l r a Tok Report v Virw~otr <blollr Victarnrld I t o r VisiormOs Vofil1u W W o r n o Werrr ~ Ui~ily (WD) Wurlcl a f l ~ ~ t e r i o n . such as advice. The Department ofTtade and Industry (DTI) (Clothing. advance and protect ~llustrators' rights end encourage professlonal standards. Hampton Court Palace.rllle. The Prince'sYouth RuslnesaTcust (PYBT) 18 Park Square East London NWl4LW TelC44 0 2 0 7543 I234 www.I.orq. It encourages new talent through annual awards to students.sraftsc0uncll.r Snmkur Nntker I E e 1 YI - G 'I'heC r a b Councll 44a Pentonv~lle Road London Nl9BY Tel*44 (0)20 7278 7700 Yww. Embmlderers' Guild Apt 41. Surrey KT8 9AU TeIt44 8943 1229 Emall admlnistrator@embrolderer~pulld. It carrier a growlnq catalogue conslstlng of nearly 8.&&m The Assoclatlon of lllustrators was established to promote lllurtretlon. The website contains professional resources for lllustrators and for commissioners of illustration.Th@Embro~derers' Guild Is e leading educational charlty and registered museum. It elso publishes a magazine that promotes crafts. such as the "Innovative Pattern Cutting Award" as well as awards for Graduate Fashlon Week Presentations.menaped lllustrators' portfollos. Ntmme oy$l@r Ibp I~r~rpIi? Pas~rirrr~ /?etfI~l WWk S~!I/Ser'llii.s l~rx~aj?~ Llvlrrg etc Marie Clalrw Mnrrrinlnile USEFUL ADDRESSES The Assoclatlon OfIllwtrators 2nd Floor.I Slj.co.uk WWNfad.0rg.the?o. Back Bulldlnp 150 Curtain Road.uk Oeslpn Wales provldes comprehensive advice and support services on all Issues related to design.com The Oulld war set up in 1906 by 16 graduates of the Royal School O f Needlework and Is now the largest crafts assoclatlon In the UK. London EC2A JAR Tel*44 (0)20 7613 4328 www.org.000 Images.dtl. Rrldri Bllyer CaltfirnQ Apparel Nows Curnpllrer Arts Dully NerusRecanl (DNR) Dumd arid Cor2fiuecl Drapers: Drapers Record and Mensiwur Ell@ Rlle Deco~ntlan Err~bmklrry Fuslziorl LOre Fushlorr HepolPer Glrls Like Us Grc~~)thlc rnclgmtlte ID I.londonfashionwelR.

com wW~. ILLUSTRATION AND COSTUME GALLERIES . NY 10028.com National Art Education Assoclatlon 1916 Association Drive Reston V A 20191.mu~~mof~~~t~me.pal~~ssi.- Musde de la Mode e t d u Costume 10 Avenue Pierre Tar de Serble 75016 Paris France Tel t33 15652 8600 Is M u d e desnseus et des Arts DBcoratlEs 34 rue de la Charit4 UK & EUROPE Centm lnternazlonale Art1 e del Costume Palazro Grassl Campo San Samuele San Marco 3231 20124 Venlce Italy Tel+39 41 523 1680 www. The webslte contains useful Information for students. and there are annual compotltlons and bursaries.com A n~rmbwofntiirwnaoffs~.0198 Tel*1212 535 7710 wwy~qetmuscum. CA 90036 Tel *I 323 857 6000 ww_w.~ The Society of lllustrators can be joined via a membership scheme.co~~ Museum Salvatore Perragamo Palazzo Spini Feronl Via TornabuonlZ Florence 50123 ltaly Tel c 39 055 336 0456 Vlctorln and Albert Museum (V&A) Crornwell Road South Kenslngton London SW7 2RL UK I = $ = New York Fashlon Council 153 East 87th Street New Yotk. NJ 07072. NY IOOIB Tel+1212 947 7774 Emall ceus@colorassociatlon.!g=adr . NY 10278 Tel+1212 264 4354 Tel+44 (0)20 7942 2000 www. NY 10008 Tel +I 212 2890420 PantoneColor Institute 590 Commerce Boulevard Carlrtadt.com TheSoclety of Illustrators 128 East 63rd Street New York.be 869002 Lyon France Tel+33 (4)78 3842 00 wwugsee-aes:U$sus.lt Galerla dal Costume Plazza Plttl 50125 Flrenze Italy Tel+39 55 238 8615 Located In a wing of the Palazzo Plttl Kobe Fanhlon Museum Rokko Island Kobe Japan www.j~ KostUmforschungn lnstltut Kemnatenrtrasse 50 8 Munlch 19 Germany Upperheldesche KoalUmblbUothek Kunstblbllothek Staatllche Museen r u Berlln Matthalklrchplatz 6 10785 Berlln Germany MoMu Antwerp Fashion ModeMuseum Natlonalestraat 28 8 2000 Antwerpen Belgium Tel + 32 (OD 470 2770 Emall lnfo@momu. NY 10018 Tel +I 212 398 7943 Emall Info@fashloncenter.org hbrlc and resources Natlannl Network for Artlst Placement 935 West Ave 137 LOS Anqeles.~~g - Musee des Arts de la Mode et d u Textile Palels du Louvre 107 rue de RIVOII 75001 Paris France Tel+33 1 44 5557 5710 www.ac. NY 10021 Tel+1212 838 2560 www. United Slates Small B d n e s s Administration 26 Federal Plaza.vam.~~~oraSSoclatlon.org Costume lnstltutc Metropollten Mu$eum of Art 1000 Fifth Avenue at 82nd Street New York. MUSEUMS.~wd~tced rats~ ro studerzrs orfive aclmissiun on certcrin clc$ys.so~!~~villu$t~~tPrs. Sulte 3100 New York.Ycme.com Pashlon Informailon The Fashlon Center Kiosk 249 West 39th St New York.artktplacemeot.fashl~nmuseum. It Is home to a wonderful Illustration museum and library.fashiomer.com wwvl..or.uk USA CostumeGallery Los Angeles County Museum of Art 5905 Wilshlre Boulevard Lor Angeles.USA The Color Assoclatlon o f thc US (CAUS) 315 West 39th Street.cer Museum 0fCostume Assembly Rooms Bennett Street Bath 8Al ZOH UK Tel+44 (On225 477 173 ~Ww. CA 90065 T@1+1213 222 4035 www. NY 10021'7303 Tel: +I212 838 2560 ww~cietyillu&tors.atane. Studio 507 New York.or~ The Museum ofAmerlcan IUuslratlon Soclety of lllustrators and Norman Prlce Library 128 East 63rd Street New York.3098 TBI +I 201 935 5500 www.1590 Tel+1703 860 8000 wwxnaea-rern.

192-194). www. #1F New York.astumes.merauise.orq w~_w.]@ffreyfulvimari.com r.com View shows. 185) 420 West 24th Street. and lifestyle. Wapping Wall London E 1 W 3SS UK Tel*44 (0120 7702 9365 Fax +44 (0)20 7702 9366 Emall contactcPbigactlve.uh Offers creetlve suggestlons. NY 10001-5992 Tel +I212 217 5970 Emall museuminfo@fltnyc.ww.dept. www. NY 10012 USA Tei +I646 486 6586 Fax +I646 486 7633 Email agent8Pcwcl. CWC International. w. INC Contact: Koko Nakano 296 Elizabeth St lF New York City.com Website of the trendforecasting agency (see PO. tutorials end the latest news from the world ofcomputer illustration.FY~ .ideasfactory. beauty.uLer3rt1~59. The Natlonal Museum of American Illustration (NMAI) Vernon Court 492 Beilevue Avenue Newport Rhoda island 02840 Tel +I 401 851 8949 Fax +I401 851 8974 Emall art@amerlcaniliustratlon. videos and magazines on Ilne.agent002. www.com Art Department Contact: Stephanie Pesakoff (seep.com Online "Art and Deslqn" zone. Metropolltan Whaf.org Online magazine covering fashlon.promOstyl.voque.com Website of commerclal fashlon lliustrator Jeffrey Fuivimari (see pp. www.ww.edu www.blqactlve. ILLUSTRATION AGENTS Agmt 002 Contact: Mlchel Laqarde 70 rue da IaFoIle Mericourt 75011 Paris France Tel+33 (ON 4 0 21 03 48 Fax +33 (ON40 21 03 49 Email mlchelcPaqentOO2.com w.co.dept. www.eom www. 190-191). www..o~tom Webslte of fashion Illustrator David Downton (see PD. from the Middle Ages to the early twentieth century.adobs.uk With links to the websites of all other Vogue International rdltlans.. www.ela~idclary@to. www. 186-189).com www.com Elg Active Warehouse 04.Museum at the Fashion Institute of Technology Seventh Avenue at 27th Street New York.fashionoffice.coilezlonionline.com www.art.org Links to many other sites covering all aspects of costume.com The home page for ail Adobe software packages.!ashlonenterPriseBttom Website of the Centre of Farhlon Enterprise. NY 10011 USA Tel +I 212 243 2103 Fax +1 212 2443 2104 Emall stephanlep@art.de A Slte all about period costume.WWw. London College of Fashion.crn~.

or available to work. yellow and black (the last "k" abbreviation used to avoid confusion with blue). Htmdwltlng. representation of fabric using various media. Boutique French word for an independent. Canvas A strong. determined by the materials. Colourpalette/gamme A limited selection of linked colours used in fashion deslgn m d illustration. usually b r a limited perlod. Collectlon The term used for fashion clothes that have related features or are designated for a specific season. jeans. if the artlclr is on fashion. for a number of employers. Coordtnates Fabrics or Items of clothlng that relate In COlOurIng or style and whlch can be worn together. illustrations or objects of special Interest. heavy. Classic A term for a styie that remains constantly popular and changes very little in detall. Hn~dtecoutareFrench term for the highest quality of dressmaking. it will often feature fashlon illustrations. In a range of different types of thread. Embroidery Decorative stltchlng that may be produced by hand or machlne. Adobe Photoshop A bltmap (or raster) digital computer package. objects onto a rurface. Rmbelllshment The adding of ornaments or decorations to somethino. usually made qulckly in pencil and wlthout extraneous detail. CADICAM Computeraided design and computer.employad person working. closely woven fabric that is stretched around wood to create a surface for painting. Graduarlon The completion of a course of academlc study. CV (eurrlculum vltae) A chronological personal summary detailing educational end employment achievements and attrlbutes. usually lower. television. Glv~siesThe highquality magazines. and usuaily hired for a limited period. Pabric renderlng The artistic. Colour forecasting The prediction of future colour trends by analyzing data from trade shows etc. usually between two weeks and nine months. magenta. Fashion designer A person who devlses and executes designs for clothes. Collage The art of making pictures by sticking and other cloth. or vacancy in order to attract or Increase interest in It. h s t l n g The base price of the garment. CLothedlife. Internship (also known nsa placement) A period of study. Edltorlal An article in a newspaper or megazlne that expresses the Opinion of Its editor or publisher. especially the elements In s vlsual Image. Label This term is sometimes used synonymously with logo. whlch gives it a draplng. Bespoke lndlvidual mada-tomeasure talloring for men's suits. men%shirts. deslqn. the ink colours used for printing. Buyer The person responsible for planning end and managing the buying and selling of merchandise. Couturier French word for fashlon designer. Fashlon Illustration An artistic Image produced to promote a particular fashion. Advertlslng The promotion through public announcements in newspapers or on the radio. Draping A method of making a fashlon styie or pattern by manipulating fabric on a body or dress form. Freelancer Self. of a collection of works of art. Erhlbltlon A public display. Gmln The direction of a fabric's threads. labour and transportation. fibre contents and wash care of the product. trlmmlngs. shop wlth unique stock and atmosphere. e. Cornpodtion The way In whlch the parts of something are arranged. event. DIfhslon tlne A secondary. Deslgndevelop~nentsDrawings that progress through desirable or SUcceSsfui elements withln a deslqn theme. usually smaii. Rralnstvrming Open discussion amongst coileagues or peers to introduce new Ideas and concepts. A designer or company cannot call themselves Izolttu ~ n ~ t ~ r ~ r s u nthey less have passed the stringent crlterla of the Chambre Syndical of the Federation Franqaise de la Couture. Avant-garde A fashlon or concept that Is ahead of Its time. or accessory such as a bag or item of footwear. design features or way of drawing. C M Y K palette A shortened term for cyan. Layout pad A sketchbook wlth sheets of thin paper that can be traced through.GLOSSARY Adobe illustrator An object-orientated (or vector) digital computer package. flats Dlagrammatlc drawings (see Speciflcetlon drawings). Pinalcollectlon The last college collection before graduation. 5 2 a style of garment. value or a particular ethos. Dlgital portfollo Examples of artwork saved digitally to be emalied or put on compact dlsks to post to prospective employers. signature A personal design style.g.hugqing quallty that may be emphasized in a drawing. the cardigan. to make it more Interesting.) Degreeshow The exhibition of work which Is assessed to ascertain a student's degree classlficatlon. such as a garment. Fnd A very snort-lived fashion. photogr%PhS. spent within a business to gain work experience. or Internet of something such as a product. and perhaps accurate. Colourwny The limited ranqe of colours that I . Capsulecollection A smaii range of related styles with a special purnose or Impact. may be offered In: also the term for the choice of colours in whlch a printed textile is available. CrltlquolCrit Discussion and evaluation of work.drawlng or fashion-life The act of drawing the clothed human figure from life. Light box A device wlth an lllumlnated surface that can be used for traclnq an image. Flapper A young woman of the 1920s who disdained prior conventions of decorum and fashion. Llfe-drawhg The act of drawing the nude human flgure. priced garment line that allows consumers on a budget to buy into the deslgner look. Deslgn board A visual presentation board in a portlolio that represents a final design. Dealgn 1wugh8 Flrst-stage drawings for deslgns. An iilustration mlght accompany a costlng. "The Collections" ISa colloquial descriptlon used for the Paris fashion shows. Pashioncycle The calendar by whlch a company will pien. Brand A name or trademark used to Identify a product and denote quality. make and market Its ranges. Contemporary Dirtlnctiy modern and in existence now. service. but is also used to describe the tag whlch ldentiflen the deslgner or manufacturer and the origln. pleces of paper. Digital imagery The process of transforming or altering a dlgltal Image by manipulating It on the computer. rather than being committed to one. flgure. Graduateexhibition A display of graduates' work visited by potentlal employers.aided manufacturing. (Also known as a resume. Fabric may be cut aionq a straight grain or "on the blas". often held as a group session at the end of a project or esslqnment. or a collectlon. llluetratlon agenl A company or an Individual that can represent and promote the work of an lilustrator. .

Photomontage The technique of comblnlnq a number of photographs. m t u r In British unlversltles. n n t The result of mlxlng colour wlth white. Pose A partlcular phys~cal posture or stance. budget. similar shapes can be made. such as the stitching and trimmings that are to be used in manufacturing a garment. Toile Literally the French for a lightweight muslln but used to describe a sample or test garment. Price point Dlflerent ranges of price Indicate quallty and market level. Vlewflnder A slmple device that helps to select how much of a flqure's surroundings to include wlthln the confines of a picture. or parts of photographs. this Is a presentation of the concept for a collectton with a detailed breakdown of styles and caordinates. Template A mastet. Tone The result of mlxlnq grey with a colour. PmrnBre ulslon. not to copy. Photomontage Is popularly used In art and advertlslng. range and order of a COllectiOn. It captures the styleand theme for a set of designs by dlsplaylng deflnlnq Images. Masklngflutd A llquid that acts as a resist to palnt. retrlevel and trensmlsslon. The technique originated In Japan and was a populer form of fashion illustration In the early 1900s. This allows the selection of the view that works k t . Speciflcatlon drawings (also known 88 ~pecal A deslgn drawlnq annotated with measurements and manufacturing details. m t o r l a l A meet~nq wlth a tutor to dlscuss a student's progress. Snapahot A record or vlew of a particular moment In a sequence of events. A lineup can also be Illustrated and presented In a portlolt0. Tertlary colours These are colours made by mixing a primary colour wlth Its adjacent secondary colour.g. Storles Deslqn themes comprlslng fabric. The pose of the figure 15 evital component of a fashion lllustratlon. Ready-to-wear Also known ar off-thevep. or pattern. that serves as a gulde from whlch other. An Illustrator's speciflcatlon drawings (see below) assist in establlsh~ng a prlce point.wear. or carry out research. Manga A Japanese style 01 comic books or animated cartoons. Pantone A woridwlde coiour referencing system. pr8t. proportlon also relates In fashlon Illustration to the comparative size and shape of different alements of the human body. appears repeatedly in a coliectlon or throughout a series of sketches or illustrations. Rpsesreh A methodical lnvestiqatlon into facts a subject or theme in order to d~scover and vlsual data. but from whlch other colours are mixed Promotion Any means by whlch somethinq Is marketed to become better known and more popular. Story board Also known as a theme board. Vector A methematlcally deflned object or group of objects that In computlng can be a range of Ienqths. Promotlonai fashlon lllustratlon is mainly used in advertlslnq to encourage the cloth~ng to sell. Scanner A devlce used to convert an image into dipltal form for storage. fabrlcs and colours that are Influential In the deslgn process. D l m m l n g A term used In fashlon lllustratlon to descrlbe thedecoratlve detail on a garment. usually llfe~slze. PC A shortened term for a personal computer. . Sllhouene The overall shape of a qarment or person. Range building The process of bulldlnq a serles of connected Ideas that are reallzed In a clothlng range. Shade The result of mlxlnq a colour wlth black. Mac A shortened term for an Apple Macintosh computer. Prlmarycolours These are the colours that cannot be made by mlxlng other colours. n a c i n g A copy of an Image made by traclng It onto a sheet of translucent paper laid on top Of it. Smaller wooden mannequins are used to draw body proportions and poses. Retail The selling of goods from a buslners to sn Individual consumer. Postgraduate study The opportunity for a student to continue to learn. to form a composite picture. of the human body used to display or fit clothes. which are used as lnltlel lnrpiration or corroboration for a concept. colour or style associations that are used within a pertlcular collectlon. Outllne The edqe or outer shape of somethlnq.h-porter and clothlnq separates. Paychedellc A term often used to descrlbe distorted or wlldy colourful artwork that resembles images that may be experienced by somebody under the influence of a haliuconogenlc drug. these are plctures lifted from magazines etc. Prdf-h-porrer French for ready. Memorabilia Objects collected as souvenirs of important personal events or experlences. Secondary colours These are colours produced by mixing two prlmarv colours. PortPoilo A large. Sketchbook A vlsual notebook or diary used to create a personal response to the world and Inspire ldeas for finlshed works. Stylist A fashion expert who prepares fashion Items for photographs or presentations. Sometlmes such oblects are generally Considered to be collectors' ltems Mood board A presentation board whlch shows the overall concept and direction of a design collection. A flgure template Is used as a gulde for fashlon deslgn and can also be used for lllustratlon. Pocholr Llnedrawlnqs that are highlighted wlth watercolowr applied through finely cut stenc~ls. but which Is also used for the f~nlshlnq and cutting of loose threads. tear sheet^ Also known as swlpes. portable holder lor flat artwork and press cuttings that should give a potentlal client a comprehensive vlew of the Illustrator's or desiqner's capablllties. n e n d A current fashlon or mode Trend book A colour publication that outlines the predicted future trend5 up to two years ahead. an academlc who Is responsible for teachlngand advising an allocated group of students. Palette In illustratlon.Line-up A preview of toiles (see below)or flnlshed garments on models to determine the balance. in an academic environment followlnq graduatlon. Pixel Anindlvldual tiny dot of light that is the basic unlt from which the Images on a computer or televlslon screen are made. but whlch appear only in one dimension. In fasnion deslgn or Illustration. Mannequin A model. also known as PV French for "first look" and the name of the major fabrlc trade falr held twlce a year in Paris. designer and luxury. Logo A brand name or symbol used to identify a product or deslgner. A principle of fashlon design. Theme A unifying lmage or concept that.to. plvlnq It Impact and mood. a term used for better quallty and designer separates: It is also the name bf e major fashian exhlbltlon. Objectiveor obnervallonal drawing The act an Image to represent what Is seen of creat~ng during direct observation. without detail. thls refers to the range of colours used In en artwork. e. Proportion The relationship and balance between one aspect of a design and another. or in a cont~nuing process..

56-9 design roughs 73 fashlon ~llustratlon 58-9. Thc(Med0nna)194.36-46 Bolln.160.186.63 knitted 63. Carl) 86.138 eurfitt. drawinq 31.62 shiny62.36-46 ink 164.158 chiffon 62 Chln. trends 10 Clark. 87 Bourbeau.74 DlesbaCh. Giorqio 13 Art Department 185 art materials 48-55 artistic techniques 8 L bad weather theme 20. 40. Anne 152. Edgardol30. constructlon 26.15 buyers 80. 63 embroldered 63.167 coilectlnq lnsplrational items 11-13 collections 70. human figure 36 feathers 63. fashlon 58. 53. 120 Chanel.161 threads 54. 39.168.73.140 Chakrabartl. Cnrlstlan 86 Bernlnq. 51 charcoal penc~ls 51 checks 61 chenllle 63 CheUk.148.104 Bakst. l a butterfly theme 14. 84.87 boucle 63 Bourt~Wlllaumez.lbP flats 7 6 production costs 76 templates 33 concept boards 68 contln~OuS~iln@ exercise. 8 6 Erte 84 exaggeration.70. Bill 138.65 samples 69 sheer 62.165 shoes 4 6 dresslnq for Interviews 181 Dryden. 86. EdMrdO Garc~a 85 Bbrard. Ren6 86. Leon 83 ballpo~nt pens 54.164.INDEX Page numbers in bold refer to illustration captions. 63 patterns 63. George 10 Benito.85.152 brainstorming 14 briefs 6 Brissaud.130 cartridge paper 48 cashmere 63 Cellini. body proportlons 8. 88.78 clothing.92.14.186.21 Bailey.66 design roughs 70-3. 172.85 exhibitions 13 eyelashes 4 3 eyes 4 3 F fabrlcs design roughs 72 embelllshed 63. 62 striped and checked 61.98. Vincent 104.24-31.174 agents 8. 177 planning 22 colour 16.92.171 Adobe Photoshop 55.Philippe 92 den~m 63. 55.86 .169 hand 16. 166.27.55 employment 182 Rhglislt Ifosccu. Nlna 120.8. Rend 87. 6 0 angora 63 Antoniou. accent colour 59 acetate 48-9 acrylics 53.84 brocade 62 Brooks. Rebecca 7. 96.110 Berlhold. 73 displaying 75. Michou 124. spray 54 Adobe Illustrator 55.98 Arqyle pattern 63 Armanl.59 forecastlnq 58 colour palettes.162 adhesive.170. 63 embroldered fabrics 63. Marcus 84. Helen 85 E ears 43 embelllshed fabrics 63.63 embroldery computerized machine 168. Osrle 31 Clark.188. 168.1 human ligure 6. Fernando 91 Bouch6. 173 Bakkum. 166. 118 'don't. Tina 110.78.87.80 Campbell. Coco 85 charcoal 51. Danlelle de 190 C CAD/CAM rystems 76 cameras 10.170.27 collage 17. 69 colourpredlction agencles 58 colour wheel 56.172.look. Jean. Fran~ols 92 body proportions 25.6.194 equipment 54-5 Eric (Erikson.189 drawlng 8 exercises 30. 38.63 rendering 60. 9 6 clients 6. 46 f l g u r e human ~ ~ figure liqure drawing 6.39. 61 faces aec heads Feir Isle pattern 63 fashion designers 6 fashion deslgns 70 fashion Illustration 6 fashion range70 fashionable Ideal. David 0. Jason 88.63 prints 63.38. Ferdinand 60. Cecll 86 Bellows. drawing 30.173. Miles 118.57 coloured backing paper 49 coloured pencils 50 complementary colours 57 computers 55 embroldery 168. Anna 172.63 feet 41. Guillermo 85 books 12 Botero. Peter 12.167.30 Downton.92 Brown. B.185 Amelynk. Glovanna 140.31 'conversation pleces'176 coal colours 57 costing 76 curriculum vltae (CV) 183-4 customer profile 70 cuttinq mats 54 dlgltal portfolios 178 Oior 87 dip pens sz Donovan.24-31 fineliner pens 54 D Degmar 88 Deli. Salvador 82 dance cards 16 Degas 82 degree courses 180 Delhomme. 160.148 cities. Lovisa 1 3 6 . 172. 164 Barbier. Georges 84 beads 62 Beaton. Deanne 158.132.124 anatomy 25 Andrl.61 woollen 61.75.36. Stephen 85. Pierre 84.bacl(' exercise.72.132 Card 49 Carosia.

watarproof Ink 52 noses 4 3 nude flgure 24.7-8. Marion 126.162 garments. Gladys Perlnt 91 paper 4 9 cartridge 48 coloured backing 49 layout 48 pastel 4 8 tlSSUB 49 tracing 48 wallpaper 49 . Mats 84.42. Toble 128.106 Gardiner. Wlll164. 88. Wenceslaus 82 'Hot Metal' sketchbook research 18. Ayako 108. Rlchard 94. 154.90. 2 9 light boxes 54. Gustav 60.192-4. Antonio 88.102 heads 41.108 machine embroldery 6 9 computerized 168.mapplng 14. Adrlano 166.168.53 Palmer. 82.164.36-46 fashionable Ideal 36 feet 41. human figure 38 medlum. John. 2 5 H halr 4 4 hand embroldery 16.2S mlnd.24-31. Charles 8 4 masking tape 5 4 Matlsse 31. sketching on 27 London Graduate Fashlon 183 Lopez.142 gouache 53 graduate exhlbltlons 182 ~raduate portfolios 177-8 Grafstrom.194 fur 63. photographs 178. 8 8 Klimt. finding 48 metallic yarn 63 Mlchelangalo 24. 55. Jul~a 156.6 9 .39.27.39 scale 27 templates 33. found 16 observational drawlng 30 O'Connor. Ruth 8 6 graphlte stlcks49-50 Gray.163 palnts 52-3. 90.1042 Image 17 Inventive 16 lnsplratlonal Items.193.112 oil pastels 51 OllS 53 organdle 62 organza 62 outline exercise.161 threads 54 hands 41. 6 3 further education 180-2 portfoilos177 nude Y . Chlco 102.126 leq elonqatlon 38.63 knlves 54 knowledge base 14 Kojl.s) life drawlng 28. 5 9 mohair 61. 8.43 Held.122 Fulvimari. 5 2 lnsplratlan 6.168 N net 62 non. 63 mood board~68-9. 25. Alma 134.86 Martin. Virginia 103. I threads 54 Madonna 194 maqazlnes 13 mannequlns.43 height 3 4 3 8 K Keogh. 25 Lepape.103 Joyner. Charles Dana 82.90 measuring methods. Alphonse 82 museums lO. Georges 83.86 Hatort.flannel 61 flats 76.37 markers 54 Marshall.162.91 M Machlda.164. drawlng 31.160.166 georgette 62 Glbron. 6 0 Knight. Patricia 168. Loulse 154. 83 Glddlo. Jasper 142.134 layout pads 73 layout paper 48 leather 62 Lefebvre.33 location.45 hard pastels 51 Hlr)1ps1'LBuzgm'84. Marie 112. 2 5 parts 3 6 poses 41.40 Legno. Slrnone 170. 83 'Glbson Girl' 82.31 L laces 62 Lady's Magazine. Jr 85.178 Gazra.68.150 0 objective drawing 30 objects. Kareem 114. Tom 8 6 Klraz 8 8 .45 heads 41. Lorenzo 84. drawlng 30-1 Inventive lnsplratlon 16 Iribe.11 Illya.15 mlxed media 17.156 Gruau.170.11 I Ideas bank 7.92 J jobs 182 Johnson.192.46 halr 4 4 hands 41. 5 2 ink 52 drawlng with 164.94 Griffiths Jonas.18 hue 57 human figure 24-6 clothed 27 dlfferences between sexes 38 drawing 6. 125 Hayasakl. 8 5 herringbone 61 history 82-92 Hollar. wooden 37. Carmenl06.170 Leonard0 da V~nci 24.160. 7 8 Mucha.114 Illustration agents 8 Illustrator (Adobe) 55. Paul 83 G gabardine 61 galleries 10 Garcla Huerta.25. Matthlas 122.24. 82 Mattatottl. YukllZS.170. The 82 lam& 62 Larroca. Jeffrey 8. collecting 11-13 interviews 181 Intultlv~ exercises.41 proportlons 25.171 Illustrators 8 Image lnsplratlan 1 7 imag~nation 14 Indian Ink 52. 28.162.42.165 lndlan 52.128 Goodall. Rene 87 Gustafson.48. l b l knitted fabrics 63. Francis 29. 7 6 fleece 61 found oblacts 16 freelancing 182 Frey.36-46. Ots 150.55 lips 4 3 P pacheglng 49 paInting162.

191 trend-forecasting companies 190 trends. Robert 100.36-46 scalpels 5 4 schematics 76 Schulz. 6 3 professtonal approach 8 0 professlonal portfollos 178 Promosty158. 146 wooden mannequins 37. 51 patterns.160-74 tweeds 61 X Xerox machlnes 55 Y yarns 63 z Zoltan 91. 53.18-22.85.190.90 Vngue84.190.62 shoes. 27 Vionnet.172. 51 wax crayons 81.33.162 watercolour papers 49 waterproof Ink 52 watersoluble crayons 50 watersoluble penclls 50. SO pens 5 4 5 5 Pesakoff.21 collect~on plannlng 22 'Hot Metal' research 1 8 . Douglas 8 5 portfolios 8. Paui 83 Pollard. 83 Poiret.73 tertlary colours 5 6 themes bad weather 2 0 .191 proportions. Tony 90. drawlng 4 6 Sketchbooks 8.176. human figure 27 . Francis 29 sketching 2 4 2 7 8ceuLsu drawlng Smith. Henrl82 tracing 32-3 traclng paper 4 8 transparent fabrics 62 travel 10. 116 shiny fabrics 62.176. 6 5 repeat patterns 63 reptlie skins 62 researching themes 14-17 ns~denclea 183 Rounthwalte.37 wools 63 working drawlngs 76 wrapping paper 49 T taffeta 62 target market 70 technical drawings76 templates 32-3.32 photomontage 166 Photoshop (Adobe) 55.10.100 wallpaper 49 warm colourr 57 watercolour paints 52-3. collections 22. Mercal86 vlewflnders 27. 26 bad weather theme 20.18.watercolour 49 wrapplng 49 Parrlsh. Slr Paul 10 soft pastels 51 software 55 speclflcation drawings 76. 2 1 butterfly 14.70 pocholr'83. 14. fabrics 63.178.Stephan~e 185 photocopiers 55 photographers 8 6 photographs garments 178. 91 R range building 73-5 rendering fabrics 60-6. George 85 planning. nostalala for 1 1 pastel paper 48 pastel pencils 51 pastels 51.190.70.63 penclls 49-50.178 tracing from 32-3. fabrics 63.179 digital 178 fashion des~gn presentatlon 78 further education 177 graduate 177-8 presentatlon 8.167. Annabelle 144.174 Plcasso. Yuko 116. cities 10 trims 72 tulle 62 tutprlals 8.25.183 nvr1J~ook190. 8 8 vo~le 62 W Wagt.15 researching 14-17 tint 57 tissue paper 49 tone 57 Toulouse-Lautrec. 70.177.41 postcards 13 postgraduate study 182 presentatlon 8 fashion design 78-80 presentation boards 176 prlmary colours 5 6 prints. Edwlna Chrlstlana 146.172.27. Lyslane de 8. l ~ Marshall. 2 s plnstrlpes 61 Plank.190 S satin 62 saturatlon 57 scale.87. Madame 85 Vlramontes. 76 spray adhesive 5 4 spray paint 53 steel rulers 5 4 stencllllng 83 stitching 63 story boards 68 strlpes 61 sweet wrappers 49 U university 180 interviews 181 v value (colour) 57 Vnnily Fuir' 8 6 velour 62 velvet 62 Verhoye.176-9 professional 178 poses 41.86. 193 secondary colours 5 6 self-employment 182 selling yourself 183-4 seaulns 62 sewlng machines 5 4 shade 57 sheer fabrics 62 Shlmizu.144 Vcrtes. Maxfield 193 past. Graham 92. 51 White.92 Roykre. human figure 25.173. Charles M. Pablo 10.

Uh Deanne CheUh 159 neomuworld@aol. Inc.com Stephen Campbell 8 5 (rlqht). 149 www. Paris and DACS. stephanlep9art-dept. 8arcelonal"AHCB.62.com Graham Rownthwalte 92 (left) - . agent@cwc-l. www. London Tobie Glddio 129 toble@tobleglddio. dephanlep@art-dept. 55 (top).?4 sima-patel27@hotmail. 50 (right) /nslrlmOhotmall. 75 ~lisa-rlski@hotmaIl. 194 (The E~rgllsh Roses.co.com John Held Jr 85 (left) Ptlvate Collectlon. 27.rca.77 (top right).com Ferdinand Andrl 60 (left) Leopld Museum. 12 (left). www.com: michel@agent002.com Anna Bailey 172. (bottom).com Megan Hulsh 10 meqanhuish@mac.Calafell/~Successlon Plcasso/DACS 20061.tobleglddlo.ru Mlchou Amelynck 125 c/o www. 187.co.com Sam Strauss Malcolm 55 (bottom).com Llzzle Mcauade 5 8 (right) llz~le.ll (right and bottom).11 (top).2l./@t1sCal1.com Francls Marshall 29 (left) Francis Marshall Archive/Vlctorla &Albert MuseumIThe Archive of Art & Deslgn/@ADAGP. Inc.com Dawn Mooney 8 0 (left) dawnm2l@hotmall.co. ZOO6 Henrl Matisse 31 (left) 0Successlon H Matlsse/DACS 2006 Michelanqelo 24 (right) British Museum.com Ludnulla Gelbutoyshaya 59 (right).35.174 www.167 adrlanogazza@hotmalI.com Chlco Hayasahl 102 c/o CWC Internatlonal. 1 1 1 c/o CWC International.tsnet.tom Jasper Goodall 143 jasper.com. London 2006 Peter Llndbergh (photographer) 13 (right) Fredrlka LLIkholm and Martln Sllvha (photographers) 16 (top). 39 (bottom).co.165 will@wlllknlght.uk Vincent Bahhum 53 (top). 179 (bottom left) slmontuesday@mac.uk Anna Kelso 52 (bottom) kelsac@hotmail. 65 0 Laurence King Publlshlng: glllyClove.net Nina Chakrabartl 121 n~na. gr0ve. lnc.ARXIU FotOgtdfi~ J.corn. 61.183 8ethanm0rrlsl@yaho0.com Erlc Carl Erlkson 8 6 (left) mCondC Nast Archlve Matthlas Frey 123 www. 32 (top rlqht end bottom).es Bryan Holllngsworth 59 (left) bryan~holllngsworthOhotmeil.com.com Emily Blunt 77 (top left).) www.171 slmone@tokiaokl.com Patrlcla Joyner 54 (with Bethan Morris). 105 vincent.aqent002.uk Rosie O'ReIlly 30 (bottom rlght) rosleorellly@hotmaiI.com Prompstyl190. 13 (left).l.com sima Patel 22. 32 (top left). 178 Igelbutovskaya@yandax.COm David Downton 8 6 (right). l4.com Marie O'Connor 113 Info@marieoconnor.com Marcos Chin 8 4 (rlght).com Vlrplnla Johnson 103 vlrglnla@virqlnlajohnson. stephanlep@art. 37.dept.~om Pablo Picasso 25 (left) IMuseu Picarso. 64... 5 4 (with Patrlcla JOyner).com.com Julla Grlfflths Jones 157 julla@dyffrynolcwm.almalarroca.74 ankada9bhotmall.otnl8$lorrs.43. mchln@svmPatico.uk Pierre Brissau 8 4 (left) Mary Evans Picture Library Jeson Brooks 8 8 (below). 25 (rlght) IMusCe Plcasso.com Chrls Glynn 26 (top left and top rlqht) qlynnqraphlcr@hotmall.com.99 c/o Art Department illustration Dlvirion. All rlqhts reserved.Lairrxnce Krtag Ptrblishlng Ltd ~uoirlcl bm pleased to Iawrt she appropriate a c k n o ~ u l ~ e t n e in ~ zany t $~lbseqlrent prllittng of 6Rh publi~utiota.16 (bottom).chakrabartl@alumni.net Louise Brandreth 30 (bottom left) looeb@yahoo. 26 (bottom).191 www.. 50 (left).com Julla Hall 48 joolshall@yahoo.com Mlles Oonovrn 119 c/o Art Department lllustratlon Dlvlslon.com Lilsa Risk1 2.com Charlotte Morice 19 charlotte~morlce@hotmsll.com:model: Hannah Warren Kareen Illya 114 kareem1l1ya8earthlinh.com Alma Larroca 135 Info@carosla. c/o Art Department lllustratlon Division.~h Avako Machida 109 C/O CWC International. 17. aqentOcwc.co.69.co. Paris end OACS London. 8 0 (rlght). 52 ( r l ~ h t )53 . agent@cwc-l. www.wlllknlqht. 52 (top lefl).com Gustav Klimt 6 0 (rlqht) Orterrelchische Galerle Belvedere.r. agentcDcwcl.com Marion Lefebvre 127 sUqar~raflks@hotmalI. 68.70. Inc. 63.com - Simone Leqno 170.163 loulougardlner@hotmaIl.com.com Adrlano Gazza 166.179 (bottom right) bexj@aol.cOm Lindsey Colllson 33 Ann Dahle 72.uk Jacqueline Nslrim 15 (below).com).ac.uk Rebecca Jenkins 41.42.jeffreyfulvimari.com Richard Gray 9 5 All clothing by 8oudicca.46..goodall@sukle. 133 c/o Art Department Illustration Division.de - - - Charles Dana Glbson 82 Private Collection. apent@cwc. www.i.plus. VlennalBrldqeman Art Library Will Knight 164. Illust~ato.matthlasfrev.uk Cat Oray (176 (bottom) catqraylO@hotmaIl. www. 92 (right) Courtesy the artist Blll Brown 139 c/o Art Department -Illustration Oivlslon. 40. 179 (top) eablunt@yahoo. 34. ParlslPhoto RMN "Gerard Blot/~Succerslon PlcassolDACS 20061 Marina Polo71 m~na~olo@hotmail. 30 (top).com Glovanna Celllnl 141 glo. 131 Info@c8rosla. London Carmen Heurta 107 c/o CWC Internatlonal. stephanlep@art.net).net Marcus James 29 (rlght column) rnarcus8marcusjames. 36.marcoschln.com Ota Kojl151 Iwashl347@yahoo. urtisa and photoffraplzalr aivr llstecl alphabetically: numbars listed refera thc pews or1 wlalch the wovkappears.com Kiraz 8 8 (top) Private Collectlon.162.co.188 www.44.c8rosIa.uk Ren6 Bouchi 87 (right) 0Cond6 Nast Archive Rene BouH Wlllaumez 87 (left) OConde Nast Archive Anne Bourbeau 152 annebourbeauOearthllnk.houIaloula.192 Q Laurence King Publishing Ltd Antonio Lopez 89 @The Estate of Antonio Lopez Gllly Lovegrove 12 (rlght).co. Inc.173.promostyl.com Marcga Palser 28 (left and rlght) marega@ntlworld.com Louise Gardlner 155. 49 (left).cO.com Edgardo Carosia 58 (left).dept com Lovise Burfltt 137 lovlsa@burfltt.annabailey..com: mlchel@agentO02.cr Ossle Clark 31 (right) Courtesy of Cella Blrtwell Peter Clark 97 peterclark2000@hotmall. 28 (centre).20. 51.~p ck www.lt Georqes Le Pape 83 Art Archlve/DIADAGP. 38. Vlenna Rebecca Antonlou 7. 193 (susanchungnyc@earthllnk. London/Brldgeman Art Library Mary McCarthy 49 (right) mazmccarthylOhotmall. 02003 Madonna. Jeffrey Fulvimarl 192 (allcla@drllicensing.PICTURE SOURCES AND CREDITS @wryeffort has beer: rnade to c~lzfcrct the uupyrrght holclera butrhorrld tlanv be any ermn or.. London Claire Kemp 177 clairekemp@iycos. 54 (photographs centre and bottom). stephaniep@art-dept.co.mcquade@hotmall. publshed by Callaway Editions. 160.39 (top).fl Tlna Bernlnq 54 (top). Inc.b@koumbus.co.eom Bethan Morris 10.aqent002.daviddownton.45. 168. 169 patr1cia.celllnUvlrqln.uk Yuhl Hatori 125 c/o CWC Internat~onal.161.com: cqhuerta2@yahoo.

I was Saved by Karen postlnq me endless supplies of chocolate brownies. Susan Chung. Her Majesty Queen Elizabeth I1 24 (left) ~uko Shlmlru 1 1 7 First appeared Inrmaqarlne.londongra~hlcS. 98 Berwlck St. Madelra Threads and Husqvarnavlklnq for your qenerous sponsorship. 49 Papers supplled by Faulkner Flne Papers. London W1 www. Sue Jenkyn Jones.com Laura Smart 73 fllpflop@hotmall.com Hannah Wood 79 wood~hannahclPhotmall. Don Parker. and by Rosle. London WC1 pp. 61-63 Fabrlcs supplled by Cloth House. Slmone Legno. Dave Gould. I thank you both from the bottom of my heart. Katherine Bradwell. To the art and deslqn academics who have qreatly Influenced my education. For your support and constant motlvatlonal auldance I thank Elizabeth Ashton. Patrlcla Joyner and Loulse Gardiner.Taylor@colegslrgar. Julie Pinches. Flnally a very speclal thank you must also qo to my remarkable family and frlends who have showered me wlth patience.co. KoKo Nakano.ac. Your advlce.The Royal Collection 2005. Matthew Jeatt. Anne Townley and Jessica Spencer of Laurence Kina who have helped me grow. Thank you to The London Grophlc Centre.fr Edwina Chrlstiana White 147 www. 16-18 Shelton St. FaulKner Flne Papers. To Frances Wellington of London Graduate Fashion Week who helped to track down the best graduate Illustrators. The cloth House.. Stephanie Pesakoff. Lucy Richardson. Allcla Davenport. understanding and kindness over the last few years. I'm happy to say that. Lyslane De Roybre. This Is my first book so the learnlnq curve pets steeper every day my sincere thanks 90 to JOLlqhtfoot. and to Peter Kent for your tlreless ptcture research.larkworthy. Gllllan St John Grlfflths.com Lewls Smith 78 lewls205clPhotmall.. 50-55 Art materials supplied by the London Graphic Centre. A rpeclal mention to Robert Wapt and Rebecca Antonio for your fantastic cover Images and Gllly Lovegrove for your valuable diagrams and lllustratlons throughout the entire book. Gllly Staples. Jane Davison and Steve Thompson. and how much you will always mean to me DEDICATION To my mum who taught me to belleve Ican do anything In life and to my wonderful husband who helps turn those bellefs Into reality every day. John Miles. . quldance and support have been exceptional and It has been an honour and a pleasure to work wlth you all. London WC2 w~ww.com Tony Vlramontes 90 0 The Estate of Tony Vlramontes Robert wapt 101 rwagt@free. Thanks also to Samantha Gray for her excellent copyedltlnp and to David Tanpuy for the wonderful deslqn and layout.uk Vlctorla Thomas 176 (top) vlcksthomas8Photma1IIcoDuk Annabelle Verhoye 145 anna@annabelleverhoye. whose unconditional love and companlonshlp made me smlle.com ACKNOWLEDGEMENTS Iwlsh to thank the professional and graduate Illustrators who heve contributed so generouslyyou are the heart and soul of this bookand an lnsplratlon to us all. Carlos Taylor. 74 Southampton Row. Will Knlqht. TO all those who gave thelr time and experience so freely. my cat. Virginia Hole.clothhouse. Jeffrey Fulvlmarl. when times were tough. Mlchel Lagarde. especially Davld Downton.ulr Llesel Taylor 77 (bottom) Llesel. i 1 ! = g = . Canada: yuko@yukoart.co~uk pp. Adrlano Gazra. Anna Bailey.com Zoltan 91 Courtesy the artlst p. I do not need to make a llst because you all know who you are.

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W ~ r h experience In deslqn and manufacturing. orepar ng stLaents for a career in tne Industry asa whole. 245 In c~lour. With 257 illustrations. . she speclallres In fasnlon 11 Lstratlon wirh a [. Newport. She is also a vlsitlng lecturer teaching lasnlon iJstrat on at an vers ties in Barn ana Cardiff.ear view to its pace n tne fasnlon inadstry.Bethan Morrls Is e senior lecturer In fashlon at The University of wales.

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