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ESSENTIAL

FASHION
ILLUSTRATION
MEN

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ESSENTIAL

FASHION
ILLUSTRATION
MEN

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Copyright 2008 by maomao publications


First published in 2008 in the United States of America by
Rockport Publishers, a member of
Quayside Publishing Group
100 Cummings Center
Suite 406-L
Beverly, MA 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742
www.rockpub.com

ISBN-13: 978-1-59253-505-7
ISBN-10: 1-59253-505-4

10 9 8 7 6 5 4 3 2 1

Publisher: Paco Asensio


Editorial coordination: Anja Llorella Oriol
Text edition: Chidy Wayne
Art director: Emma Termes Parera
Layout: Gemma Gabarron Vicente
English translation: Heather Bagott

Editorial project:
maomao publications
Tallers, 22 bis, 3 1
08001 Barcelona, Spain
Tel.: +34 93 481 57 22
Fax: +34 93 317 42 08
www.maomaopublications.com

Printed in China

All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written
permission except in the case of brief quotations embodied in critical articles and reviews.
maomao affirms that it possesses all the necessary rights for the publication of this material and has duly paid
all royalties related to the authors and photographers rights. maomao also affirms that it has violated no property rights
and has respected common law, all authors rights and other rights that could be relevant. Finally, maomao affirms that
this book contains no obscene nor slanderous material.
Whole or partial reproduction of this book without editor authorization infringes reserved rights; any utilization must be
previously requested.

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CONTENTS

Introduction
7

Bases and Proportions


8

Illustrating with Pencil,


Colored Pencil, and Crayon
106

Poses
22

Illustrating with Felt-Tip Pen


142

Hairstyles and Accessories


64

Illustrating with Ink and Watercolor


160

Flat Drawing
88

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INTRODUCTION

When I received an email saying that there was a


project about mens fashion illustration, for which
they were counting on me, I could not believe it. Had
somebody read my mind? This future book had been
the one I always yearned for in my years as a fashion
design student! And, until now, I had not found any
that dealt with the subject.

genders, which means that interests, such as fashion,


are shared.

Fashion illustration should be somewhat generic where


womens and mens fashion is taken into consideration.
The problem is that fashion today seems to be created
exclusively for womenat least this is the feeling one
gets after browsing through bookstores.

In this discussion about illustration we will find certain


differences between the male and the female, but this
does not imply that one is better or more beautiful
than the other. It is true that men do not have the
stylish curves of women, but those curves are replaced
by shapely muscles, which are equally attractive. And
although a womans pose is a lot more theatrical
than that of a man, the latter can evoke greater
strength. The important thing is that, in both fashion
worlds, there should be an overriding objective when
putting illustrations on paper: they must be understood.

But the reality is different. The myth that men do not


worry about how they dress only changing from their
office suit to their casual wear is something that
nowadays clashes with reality. The growing obsession
regarding physique, which leads them to pack into
fitness centers and use exfoliating creams, is also
reflected when they are clothes shopping. The width
of their garments follows the trends that the stylists
praise in the magazines and they undoubtedly know
three times as many fashion designers as their fathers.
Women, on the other hand, not only maintain their
eternal obsession with physical beauty, but also work
and run the home. Things are levelling out for both

In view of the current situation, it has been decided


that mens fashion should be included on the shelves
of bookstores, and so we present this book of mens
fashion illustrationstheir faces, clothes, and poses.

A good illustration is usually the first step toward a


successful collection, because it will be useful for all
those who participate in its production process: from
the sales clerk at the fabric store, to the pattern maker,
to the client. And it is also useful because they all
understand it and know how to translate it as though
it were a language.

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Bases
and Proportions

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When drawing the human


figure whether for a fashion
illustration or not, being
aware of the structures and
proportions of the body
is vital. One of the most
popular techniques with
which to start is the
conversion of the figure
to geometric shapes.

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The classic proportion of the


human body is traditionally
represented as being 8 heads
tall; however, in the fashion
world where slim bodies are
the norm, 812 heads are
preferred.

Bases and Proportions

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If the feet are not positioned


correctly the figure loses
credibility. Drawing balance
lines is very useful in order
to fix the figure in the space.

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The horizontal lines that


accentuate the position of
the figure are those of the
shoulders, waist, hips, and
knees. The imaginary,
flexible line stretching from
the cranium to the sacrum
is our vertical guide.

Bases and Proportions

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The head is created by joining a circular


shape and an oval shape. The eyes are
drawn approximately where these two
shapes come together in line with the
upper part of the ears.

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It is important that a coherent


relationship between the
eyes, ears, nose and mouth
is maintained, regardless of
the position of the head.
Here are some examples
of lines that can help.

Bases and Proportions

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The eyes give expression and


personality to the figure. When
they are being drawn, it should be
noted that the eyebrows are thicker
towards the center. The eyelids
and corners of the eyes are also
important features.

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Here the drawing of the nose can be


seen from different angles. The position
of the nose will dictate to what degree
the nostrils and the nose wings are
noticeable.

Bases and Proportions

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The ear has always been a problem due to


its strange interior shape. Good observation
can lead us to simplify certain lines, resulting
in a less complex version of the ear.

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The mouth of the man


is usually represented as
being thinner than that of
the woman. Thick lips are
represented without fully
completing the shape. For
thin lips it is sufficient to
faintly mark the bottom
of the lower lip.

Bases and Proportions

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The fingers of the hand are


not parallel. Light V shapes
together with smooth
horizontal lines dividing
them into threeexcept
the thumb which only
has one linegive them
greater realism.

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The feet are one of the


most complicated parts of
the human body to capture
correctly. The soles and the
insteps are never totally flat.

Bases and Proportions

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Poses

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Essential Fashion Illustration: Men

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Here are some examples of


arm and leg positions. The
pose will directly influence
the position and intensity of
the creases in the sleeves.

Poses

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The extended arm reaches the


crotch area and is never shown
totally straight. In the lower
illustration we can see that the
right arm is foreshortened, which
makes it seem smaller in accordance
with the laws of perspective.

Poses

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When the position is half


profile one of the legs is
sketched at a slightly different
height in order to achieve
as true a picture of the
perspective as possible.

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The fact that the human body


does not have straight lines
should be taken into account.
A gentle curve would be
more realistic. When drawing
a profile, the position of the
lower foot depends on how
open the legs are.

Poses

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However complex the


pose may be, the figure
should always be balanced.
Therefore the correct
positioning of the feet
requires careful study.

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Poses

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When showing movement,


the back leg is the one which
creates greater tension in
the crease of the fly. These
creases should be drawn
with light strokes.

Poses

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With few substantial


transformations in the last
century, the suit is, and will
continue to be, the key piece
in the masculine wardrobe.
This special section will show
how it is presented according
to its size, material, or pattern.

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Tailored suit. A classic suit


confers a slightly geometric
and solid look to the shoulders
and chest as though it were a
box or suit of armor. The tie
follows the curved line of
the chest.

Poses

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Tight fitting suit. The shoulders


and chest are still square
shaped and the trousers make
short creases at the seams,
created by quick strokes. The
right forearm, foreshortened,
is close to the biceps area with
an S-shaped crease.

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Wide fitting suit. The shoulder


pads protrude slightly from
the shoulder creating a small
fold. The trousers are shown
with fewer creases that are
deeper and longer.

Poses

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Short trousers/long trousers.


As the figures show, the
shorter length trousers have
hardly any creases at the
bottom, whereas the trousers
with a longer length create
deeper creases around the
ankle area.

Poses

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In poses with the hands in the


pockets, the suit jacket is lifted
up. To portray this, arched
shaped creases can be drawn.
The creases formed by the
trousers touching the instep
are also obvious.

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Here is an example of how


the trousers fall in a seated
position. The creases are
concentrated in the crotch
area where the opposing
tensions stretch from the
central seam of the trousers.

Poses

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The material of the suit will


dictate the rigidity of the suits
appearance. Wool, shown
here, creates a lot of creases,
although they appear soft.
In the right leg, the ironing
crease is not continuous
when interrupted by a
natural crease or fold.

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A patterned suit can never


be uniform. In this figure the
checks act as a mesh and
enable us to see how the
volumes of the body are
drawn and how the lines
are broken by creases.

Poses

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The movement of the arm


when raised causes the
waistcoat to follow suit,
rising from the central front
part. The resulting creases
can be represented by 3 or
Z shapes in a spontaneous
and light fashion.

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Rolled up sleeves create


squashed, oval-shaped
creases. Here we can see
that the rise of the crotch
is lower due to the trousers
having a wide fitting.

Poses

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It is very important to correctly


portray the creases when the
figure is in movement in order
to give a good picture of the
garments. When walking, the
main tension is produced from
the hip of the front leg to the
knee of the back leg.

Poses

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The selected pose depends on


what we want to highlight in
the figure. In the example on
the left, the pose represents a
relaxed attitude as does the
attire. With the figure on the
right we want to accentuate
the cummerbund.

Poses

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Poses with the hands in


the pockets are perfect for
simplifying the drawing task
or when giving the figure
attitude. Here are some
examples of different ways
of posing in this position.

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Poses

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When we place hands in


pockets we should always
make the corresponding
creases. The hand in the
pocket creates different
tensions depending on
the pose.

Poses

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A long sleeve is also affected by


placing the hand in the pocket
of the trousers. Touching the
pocket creates creases at the
bottom of the sleeve.

Poses

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Views of the back are equally


as precise as views of the
front. Elbows, the back of the
knees, and the Achilles heel
are usually the starting point
for many creases, without
forgetting the lower part of
the behind.

Poses

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In this backwards-facing pose,


thanks to the jumpsuit, the way
the creases follow the movement
of the body is seen perfectly. The
man standing straight up with his
back towards us is pulling on the
garment from the back part of
the knees.

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Poses

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It is possible to try something


different apart from the classic
poses of standing, sitting, or
lying down. In these cases,
however, the creases will be
much greater.

Poses

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When presenting a
collection using a group,
it is important that each
figure poses in a different
and unique way while still
maintaining the harmony
of the group.

Poses

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Hairstyles
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Hairstyles should be worked in


the same way as creases: with
a quick and firm stroke. This
ensures that the lines of the
hairstyle, albeit in a more
simplified way, greatly
resemble reality.

Hairstyles and Accessories

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When the hair has loose curls,


the outline should be drawn
with uneven semicircles. The
way to create an irregular style,
as with tight curly hair, is to
draw the outline with the
wrong hand.

Hairstyles and Accessories

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Long hair requires imagination from


the illustrator. The style of the hair
should be frequently different
brushed outwards, brushed inwards
and always with loose and different
strokes.

Hairstyles and Accessories

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Glasses are the only orthopedic


object considered an element of
fashion. Here we see different
models: round, thick-rimmed,
thick-rimmed metal, and sunglasses with a metal frame.

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Hairstyles and Accessories

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The reflected light of


sunglasses can be shown
in many ways as it is very
irregular. A simple method
is using white parallel
lines.

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When drawing hairbands


it is a good idea to apply
creases which stretch from
the edge to the centre. If
creases are only used in
the center the result is
unrealistic.

Hairstyles and Accessories

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When drawing visors, it


should be remembered
that the interior part is
more shaded. This shade
could be emphasized
very simply.

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Hoods are not easy to


interpret. Their behavior is
very irregular. In this example
we can see how the position
of the figures head makes
the hood taut from the
shoulder area.

Hairstyles and Accessories

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When drawing hats or


caps, as in this case, it is
useful to draw a little bit
of hair at the sides to
make the illustration
more realistic.

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Hairstyles and Accessories

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There are many ways to knot


scarves, ties, and bowties. If we
have to sketch a close-up then
we have to be very careful when
creating the knotswhere the
majority of the main creases arise.

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Bags for men tend to be large.


The creases mostly arise from
bags made of fabricgiven
that the leather used for bags
is usually very hard and rigid.

Hairstyles and Accessories

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Here we present various models of shoes


seen from different angles. It is important
to consider carefully the seams and laces
and also understand that the heel is more
attractive when shown in perspective.

Hairstyles and Accessories

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These poses of feet should remind


us of their importance in the drawing
of a figure. As we have already said,
a correct positioning of the feet is
essential in giving credibility to the
figurethis positioning could be
innovative or more straight forward.

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Hairstyles and Accessories

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Flat
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Although they are called


flat drawings, the illustrated
garments should always look
life-like. Consequently, there
should be more gentle curves
than straight lines.

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Flat Drawing

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T-shirt

Long Sleeved T-shirt

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Polo Shirt

Long Sleeved T-shirt Back View

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The sleeves should be drawn with a curve as well as the waist, which
usually tapers slightly. In the same vein, the hems should not be drawn
with a straight line.

Classic Shirt

Mao Collar Shirt

Shirt Back View

Striped Pattern

Flat Drawing

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Ribbed areas are illustrated


by lines of varying width
depending on the required
thickness. Here we can see
two wool jumpers: one with
a thin gauge and the other
with a much thicker gauge.

Djellaba Collar Shirt

V-neck Woolen Jumper

94

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Polo Neck Jumper

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Waistcoat

Waistcoat Back View

A flat drawing must show


all the details. On this page
we can see two types of
waistcoat with different
linings: the upper one has a
normal lining and the lower
one has a padded lining.

Padded Waistcoat

Flat Drawing

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Double seams, fasteners,


details. The flat drawing
requires intricate detail,
which calls for the use of
a lead pencil or a sharp,
hard pencil (H).

Empire Vest

Underpants

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Boxer Shorts

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97

Athletics Shorts

Long Length Swim Shorts


Cargo Bermuda Shorts

Flat Drawing

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We can see here how a ribbed


elastic hem or waist affects
the predominant material of
the garment. The material is
gathered in where it reaches
the elastic, thereby altering
its size.

Tracksuit Bottoms

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Denim Dungarees

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Jeans

Pleated Trousers

Flat Drawing

99

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Tailored Jacket

Dinner Jacket

100

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Blazer

Morning Coat

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The button holes, lapels,


lining, pocket flaps, and pleats
on a single jacket, as with
any other garment, must be
drawn. This is the job of the
flat drawingto make the
garment fully comprehensible.

Morning Suit

Flat Drawing

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A flat drawing is successful


when the garment it depicts
is clearly understood. This type
of drawing is what is shown to
the person who will produce
to these specifications.

Hooded Sweatshirt

Jacket
Wind Breaker

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Ski Jacket

Motorcycle Jacket

Anorak

Flat Drawing

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Long Length Coat

Sailor Coat

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Generally there are not many


creases in flat drawings;
however, they can be
included when drawing a
garment with a belt to draw
attention to it and show it
as a separate piece.

Parka

Trench Coat

Flat Drawing

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Illustrating with
Pencil, Colored Pencil,
and Crayon

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The pencil is the best tool


with which to sketch, as it
is erasable and is ideal for
modifying when we are
not certain what we want
to draw.

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In these figures we are using


very soft pencils (B) with an
unsharpened lead. We would
use this tool for sketches that
do not require much detail.

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The use of very thick pencils


enables the figure to be
sensed by intuition as some
areas are left unsketched.
This is the case with the
legs in this figure where
the continuity is sensed
even though we have not
completed the outline.

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Here, we use a pencil that


is slightly thinner than the
previous one although it is
equally soft. With this pencil,
details such as buttons or
specific creases can be added
to the drawing.

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Normally, the soft pencil (B)


gives a more attractive finish
on porous paper. The result
is always more artistic and
gratifying.

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From this point onwards we


will work with normal pencils,
which are also soft, and allow
us to work in greater detail
and bring the faces to life.

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To give credibility to a look


and soul to a figure, the shine
in the eyes must be positioned
correctly. The interior corners
of the eyes and eyelids must
also be taken into account
as we saw in the first part.

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With a lead pencil (0.5) we


can take the detail to another
level. It is an ideal tool for
drawing double seams, thin
ribs, patterns, strings, etc.

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The color pencil is usually soft


and allows us to outline in such
a way that the color forms part
of the interior. We can also color
in the garment and outline the
details with a different color to
mark the difference.

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When we use color we


do not have to color in the
whole area. We can leave
some spaces in white.
These would represent
the more illuminated areas
of the garment.

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When we create illustrations


with patterned material we
can omit the figure outline.
The pattern itself creates
its own limits, thereby
giving a misleading sense
of continuity.

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When coloring in with pencil,


the only thing to remember is
that creases have to be darker.
This is the only way they can be
distinguished from the rest of
the garment.

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Shaded areas do not always have


to be grey or black. Sometimes
it is preferable to apply shading
with complementary colors, such
as blue or violet on the skin.

130

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Crayons are very waxy so they


are not usually suited to detailed
work. They should be used with
light strokes so that the surface
of the drawing does not get
sticky.

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It is a good idea to use a fixing


spray when the illustration is
finished, since greasiness could
stain other drawings when they
are stored.

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If we are quick and have a steady


hand then crayons are a good tool
with which to draw silhouettes. It is
important to bear in mind that work
cannot be erased if an error is made.

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Given the lack of precision


crayons offer, we will use
them in a very limited way
when sketching. Here, the
details should not be the
most important feature.

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Crayons are great


for filling in large
areas. If we
crayon on top of
a photograph we
can achieve a very
real effect. Here,
cotton wool has
been used to blur
the image.

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Illustrating with
Felt-Tip Pen

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Felt-tip pens are very


good tools for advanced
illustrators. The result is
clean and aesthetically
pleasing as long as the
brush strokes are quick
and sure.

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As with the pencil, medium


sized felt-tip pens (1.2 mm)
give a high level of detail that
is ideal for faces, creases,
accessories, and fasteners.

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Illustrating with Felt-Tip Pen

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As we can see in these


illustrations, the medium felttip pen, as well as the thick
one, should be used with care
to draw faces. A simplification
of the features is the best
solution.

Illustrating with Felt-Tip Pen

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To completely fill in a figure with


a felt-tip pen requires previous
study. It is advisable to fill in
whole parts (sleeves, necks,
trouser legs, etc.) in one go
from the top to the bottom
and then carefully give them
a deeper shade.

Illustrating with Felt-Tip Pen

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The fine 0.4 mm felt-tip pen


will be the one used to bring
out details as much as possible.
With this type of felt-tip pen
it is possible to draw almost
any kind of detail.

Illustrating with Felt-Tip Pen

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With color felt-tip pens we can greatly simplify the figure, filling in
only those zones which correspond to shade. The human eye allows
us to imagine the rest of the figure.

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We can use the felt-tip pen throughout to create a flat


drawing, or by using it another way we can leave areas
blank to give a shiny effect.

Illustrating with Felt-Tip Pen

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To draw creases on a color once


we have completed the figure,
we can mark them with the
same color, albeit a slightly
deeper shade, so that they
are distinguishable.

Illustrating with Felt-Tip Pen

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It is important to remember
that the lines on striped
patterns should not be
drawn straight. These lines
follow the movement of
the body and so become
broken when confronted
by pronounced creases.

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For patterns in general it


is not necessary to draw
them completely. We can
draw some areas and leave
others to the imagination.
This technique creates a
false sensation of volume.

Illustrating with Felt-Tip Pen

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Illustrating with
Ink and Watercolor

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Ink fills all spaces perfectly.


By leaving quite a few blank
spaces for the creases, we
can create the desired
shiny finish.

Illustrating with Ink and Watercolor

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If the ink is greatly watered down


it is difficult to predict its behavior.
One way to safeguard a good
outline is to use sticky tape around
the edge so that the ink can be used
freely. Once the ink is dry the sticky
tape can be carefully removed.

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In the illustration on the


right we wanted to show a
pair of trousers in different
shadesachievable by
using a very weak watercolor and a mix of colors.

Illustrating with Ink and Watercolor

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Watercolor is an ideal medium


for interpreting transparencies.
We simply color the texture
under the fabric and once this
is dry, a second watered-down
layer is applied on top.

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A sucessful watercolor
drawing is achieved from
a good base in pencil.
When we want to create
stronger outlines, the use
of pencil will result in
greater definition.

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With watercolor and a


skilled hand we can achieve
very realistic results. To
lighten areas once the
surface has been painted,
water from the moist
drawing can be absorbed
by cellulose paper.

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The shaded areas will


be applied once we have
completed the first base
color. The result will
depend on how long
the first layer is allowed
to dry.

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Voluminous hair is
achieved with a pale
and irregular layer of
watercolor first. Once
this is dry we continue
with light brushstrokes
applying a darker color.

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We can outline the figure in


black to emphasize the illustration.
This was done with great mastery
by Ren Gruau, possibly the best
fashion illustrator of the twentieth
century.

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Combining watercolor with


another tool, such as a pencil or
felt tip pen, to draw the outline
of the figure allows us to use the
watercolor splashes quickly and
with a very artistic result.

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A combination of techniques is
always welcome. It can help us to
emphasize shaded areas, highlight
creases, or simply outline a figure.

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Watercolor easily enables


us to leave plenty of blank
spaces. Light and shadow
must be taken into account
for the effect to be natural.

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In these kinds of illustrations the result would be imprecise if only


watercolor were used. A better result is achieved by going around
the outline with a felt tip pen.

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Illustrating with Ink and Watercolor

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Here is a further example of a combination


of illustration techniques. When details or
outlines of the same color in felt tip pen
are applied to a watercolor base the result
is greatly enhanced.

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Illustrating with Ink and Watercolor

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If a background is desired
then irregular splashes of
watercolor can be used. This
works very well, as we can
see here, where the figure has
been colored in while leaving
a lot of blank areas.

190

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Illustrating with Ink and Watercolor

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