CLASSIIC RE.

PRIINT SIERIIES

C'OSTUME DESlGN AND ILLUSTRATION

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'1:U Ihil:' urn l Ihos8 repair 'l1.iat GlTB ~t r rrue or [air; 1'0;" tM.8f! dead h ;rJ~ ~h .(l prayeJ"_

l!,,,;on

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Fron li.piece

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COSTU

E DESIGN

AND ILL JSTRATION

ETHEL

RAPHAGEN

Instructor and Lect rvr H t Cooper L' nion, The l'i' cw York E"""LIg' S,-lo"" "r l udusu-iui Art, find Brooklyn Teachers' Asscciatic Classes: formerly OIl the staff of Drc .... \/"g"oi,," nd The Ladies' Home Journoi

FIn S T B D 1 T I 0 ~

NEW YORK 1918

JOHN WIt.

y & SON S, Inc.

C HAP ,:\1 A X & HAL L , LIM TED

LOl'.'VON

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THIS I om, IS SI:-\CEBELY DEDI(',\TED TO ~lY S1TDEXTS, \YHOSE EXTHl' L\~:\[ ,\__'<D SlTCESS lL\.YE BEE,:\" ITS IX 'EKTIYE A:-\D IXSPIIL\TIOX

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T

H

E

p

R

E

F

A

c

E

Cos illitE DESIGN ANI) COSTT::r"rF. _h.U;ST"RATIOX are not always looked upo as distinctly different branches of what is termed fashion work, but in truth there is it marked difiereuce between thcm.

In he former, one must consider the judgi:Jg of color, and all that this incl des by way of harmonics. contrasts, areas, ete.; the relation of :-;PIlCCS; prof er proportions; and the beauty and effect of line, balance and scale una igemen ls for the production oC a design that is dignified. fanciflll, Iriv lous, dainty, formal, 01' subtle, La express tIle dl·:-;igllel"'s conception of L e purpose or the costume and its suitability to thc wearer.

The costume illustrator, on the other hand, has the privilege of repr senting the garment after it has been designed-he must he able to nder the material with his pen. pencil or brush in such a way tlia the actual design is not robbed of any of its charm. Of course, ther are many ways of doing this, according to the technique and sens Liveness or temperament of the artist, as well as the different mel rods customary for the special use for which the design is inlemlt;d. It all easily be seen how advan tageous it is to any Iashiou artist, whe her designer or illustrator, to have an understanding of Loth branches to g t the best out of either, for they have much in common.

The designer and the illustrator should both have a knowledge and a keen app eciatiou of the beautiful lines of the human form, lo know what line. are important to emphasize and what to conceal in a figure which mao not be perfect. Drawing from the nude is of great advantage to the student, and no serious costume illustrator should be without this valu ble training.

There are some hooks which may help the ambitions student in the life clas to observe and impress on the mind Iundurnentul facts which it il:! bel i ved most life-class teachers will agree in thinking extremely useful, Am ng these arc Dunlop's Anatomical Diagrams, Figure Drau,j_ng by Hat on, Anatomy -in Art by J. S. Hartley, Richter, ;\f arshull or Du val, and Dra '-iru; the Human. Figure by .J. II. Vanderpoel. Jf the student is studying without an instructor. Practical lJrawing. by Lutz, will be found helpful.

ETHEL U. TUAPUACBN.

NEW YOIU" I!H8.

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THE

CON T E

(,HAPTEIl

1. SKETClIIXG

II. DIU. 1vtXG WITIIOCT 1IoDELs

III. 1IETIIUDS

I,T, ('

,OLOR ,

v. DESIGX

VI. THE F.-\.SIIIOX SILIIOCETTE

VII. PERIOD Fxnruc DESIGX ,

VIII. OCTLIXE OF HISTOlUC COSTl~':\fE •

IX. BIBLlOGHAPHY.

T T S

PAGE

1

13

27

63

. 75

83 91

99

. 127

X. A Ih::.\DIXG c\XD HEFEREXCF, LI'T OF

COSTl':-:-'U:, AHl-UXGED ALPIL\. ETICALLY

137

XI. AHTIST~ WHO,"n; "'OHK lIAS Ih;-\nIXG

OX PEHlOD I<'.:\'Bmcs on COSTL [E • 185

XII. IXDEx..

• 199

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SKETCHING

CHAPTEH OXE

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CHAPTER ONE

COSTUl\1E DESIGN AND

1. Forms.~In both lines of fashion work it is necessary to be able to construct quickly a form on which to sketch or design a dress, and, like the forms in

farthest point out represent the skirt. Co you have a form. See Pi . 1. The bust and hip should be on a I nc, and for the

store windows, this should be constructed to enhance the good lines of the garment. Care must be taken, however, never to confuse this with the human figure, the structure of which is entirely different.

The simplest way or obtaining this form is by drawing two ovals. First, make a straight line for the shoulders, Olen swing an oval, somewhat foreshortened, from the shoulder line, to represent the waist. Next, swing another more elongated oval. from near the ending points of tbe first oval, having the farthest part out always opposite the

present-day silhouette the connecting lines should be but slightly cur .cd,

Next, extend the tw lines for the sleeves, add the collar nd put in the centre line, which, in th front, follows the outside line of the straight in the skirt. course, t.he proportions !iiler according to fashion; i.c., the nor nl waist would go but twice into the sh rt skirt of the summer of 1916.) It i interesting to note how the reverse of t is straight line and curve forms the Lack. In making the Lack, connect the ovals j the same man-

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