shading garments on the body shading garments of different fits ~ “Toloed gamers tren cana have shape thes been steed eneeceateee “ett tp eosetiting ow'hewase Tne tteincotednte Baw ‘ada have raat corscton Shading Garments on the Body Knowing the pattems of ight and shadow tat ‘on the unclothed body provides us with good basis for knowing where light and shadow il tn the clothed bodyyand how we should shade To know more precisely where ight and shadow forms depends fist on theft ofthe ga tightly orleosely the garments ft the figure. Tightfitting garments With tightfiting garments the body underneath in eontact with the garment in almost ovary tion. In the extreme case a tightiting body sit touches the body underneath in al pats iting like a second skin, n these cases of tight iting ‘ments the shadows that appoar an the sural the garment wil be almost exacty the same as those that appear onthe unclothed gue iy tight blouses or pants can reise eyeball We shade tight iting garments-on the iguein same way as we draw the unciothed figurthe parts ofthe garments that are fulton to height. source are fully ltand appear white o ight sion ofthe color ofthe fabric, Those pats that bending away trom the ight source are where shadows form and appear asa darker versionaf color ofthe fabric Looseffitting garments With looaefting garments he Figure undethay smentisncontat wit the garment at ower than for tghefiting garments. The shadows form on the surface of the garment are th those that fom onthe unclthed figure inthe paces where the garments the fue St the parts where garments donot tthe ia al awa, ering drape, the garment orm sh siferent om those othe ire undemeath wil show adilerent sto ihtand shacons How we shade those parts of garments tata supported by the body undernesth and whe fabric forms drape depends on how the fbi ‘garment drapes I the fabric of the garment a in such a way that, ather than following the i of the bo. it falls straight down ands on light sourcs then it wil appear welt, without ‘ow An example ofthis would be the tran ofa ding dross Drape and Folds Whenever there is some lnosness-sua cl fullness-in a garment-which means that wha tere is more fabric ina garment hen eau foumatightfiting skin the excess fabri fl Under the influence of gravy tom the pats itis the body underneath-caled the su points-to form drepe. Drape appears as ods ferent wiaths and depths-rom bare inplesto ‘unnels-with the ange ofthe plane of the abe ten shiting between folds, curving avay em back towards the light.shading garments on the body shading folds/light and dark fabric Shang fl in abe 2 \ Shad ls atti 2 Shatin fol dae 4 Stan fl atic rape according to the laws of gravity these visu al aspects ofa fabric are successfully captured ina ctrawing, then it wil be possible almost to feel the fabric in the drawing as wells to recognize isu ally Drape forms in the fabrics of garmentsin diferent ways. depending on a numberof factors how ‘much exoess fabric is present the type and tick fcis sus ‘ness athe fabric, how and where th pended and is other constructional aspects, inclu ing whether the fabric has been pressed or tested wth chemicals ta haldanificia fold and shapes or ‘here other constructional details have been intio- ‘duced into the garment by means of devices Ike tucks and darts, pleating. uci. gathering and so Drape afects the pattern of ight and shadow o the surface of garments according tothe ferent shapes it makes in the fabvic-the flds and chenges in angles of the planasin the fabric. Some of the main types of drape corresponding tothe natu drape of cifferent typo fabrics a tothe aicially consttcted drape of certain fashion detals are shown in the llustrations included in the pagesin this section Applying Shading ‘Shadows should be applied inthe diction of he body shape 1 be defined! far example, around ne bust cather than in a straight line. Lona vertical strokes are use forthe longer more vertical pars the body such as the upper torso and the lgs. The ‘edges of shadows should be clean, le Note that shadows are directly affected bythe position of he light source and wil lengthen on th ht source ‘and even. ‘opposite side from the Common Mistakes One ofthe most comman mistakes in shading the fashion figure is to use a back or dark net nd cate shadow under the bust-line. This usualy reads incorrectly as a seam or scat—s definite DONOT DO. The bustling is sft and does nothavea sharp edge itis drawn with soft, diffused shadowsshading garments on the body drape at bust and shoulder/ waist/cylinder and sphere soni taba laph Dati aliricetcee’periaina nec setatwme,garments on the body g fashion details/different drape “ho hag oftheir ‘phere arolanttendngot moet sta cascade rape hosing of vatousfston detaiand ype tareshading simple garments step-by-step circle skirt/trenchcoatsilk jersey/chiffon/organza/cottonheavy satin/leather/vinylfringe/feathers/brading Drawing garments of different fabrics Tis section shows how to raw garments made Lgntedore ingore wide range of itferent fabrics so they appear ei Se unseprment ticand three dimensional tein tne adhe way ‘As with any type of fashion drawing itis import = fist to make sure the ctoqus andthe sihousteal the garment are craw as accurately as possible ‘with correct proporions and scale. Next. theshad ‘sin the drape ofthe flds have tobe planed a ‘these will vary according tothe type oath ments made of. As we have seen, generaly speak in, heavier fabrics tend o have wide reas of ‘and cast wider shadows lightweight febres have narrow areas of crane and cast thinner shadons Look carefully atthe type of fabric being deawnand the quails itdsplays and ty to crest ta _ance wth markers For softeclooking of more tured fabrics, such as wool, cashmere, vat cor duroy and others the appearance isbest aan Using a combination of marker ard colored pene the pencil helps create the sot texture. Merk sed to create broad areas of colo Fabris tata smooth or eisp are best rendered by ating sive layers of markers of the same and dferentiak esto build up range of values that give esis representation of how lights elected em thai face Fringa is tha term used for any fabric with ose ‘threads, ether bunched into tasles or twists oF separated. Fringe can be made fom practealy anf fabric including lenther. beads sik, chit ‘woos, lace or linen, Fringe is usual ‘red pencil to capture the stingy qualiy, ba can ‘also be drawn with the fine tip of marer Make sure fringe is drawn with a swing! Shadows canbe applied o show the deeper parts ofthe fringe Frege ether tae vnc taal ‘rormade nar ail Saiteeran Aveneathers/tiered tringe q Aah Alok I * A AW” aa i : ay sivoly used inf and delicate anuede/metalic leather Suede is a fabric created by brushing the underside ‘of lamb. pig oF goat skins to create a soft napped! surface tis soft and pliable and used extensively in fashion garments and accessories, The sft napped sutface produces very soft flds with ‘sheer rather than shine on the tops ofthe folds, drawn using the side of awhite pencil. Suede is drawn withthe wide tip ofthe marker. The background coloris applied from the reverse sie to give a soft even application, Shadows are defined by using the side of ablack or {dark-colored pencil Shadows are applied in wide, ‘oven strokes, Maraiclosher ada Wet xn rece ght ronda thee mare ere ‘secedeKit are drawn by fst making an oven appl ‘ofthe color ofthe garment as a background Tl raws of stitches are then lightly sketched in the side of a pencil The ines break when th ‘ove nto fod or into an area of sheen. Whi appearance of depth, Note that wide and the silhouettes ofthe garments and st far rom the body. For heavy cut al lorem indicate the depth of the ibs by using shadow in between, ‘These hanbkit sweaters show avait fs pattems and yams. When drawing kts ud constrains itis not necessary to render ve inthe garment show afew stiches and if ete sary include a separete side drawing ofa cose ofthe pattern ofthe stitches. 120ae created put background, crossing pattems are possible using from on to four cables. One cable looks like a snake, two cabl braids look like rope, Cables usualy run vertical but can also be made into latices; distance between repeats varies as does the volume ofthe cable-how chunky it pears \When drawing cable knits fist sketch out the pattern with the correct number of rpeas. Oraw inthe cables with heavy shading at the edges and sheen or the tops. These knits ae usualy heavy and bulky and form wide olds poked eaeFelts made inthe same way as paper, without use ‘of yen. by compressing finers-usualy wool- under conditions of heat and dampness. The resulting fab- ries very stif and bulky with ite drape. Flannelis soft woven fabvi with a fuzzy surtace often used in tallored gazments. The drape is soft. wide and round drapes. Te surtace is matt so there is tle contrast in values in the drape. “Tweed is 2 rough. untnished woolen fabri made with pain or twill weave and often with ahering ‘bane or other wellknown check patterns such 3s hhoundstooth or Prince of Wiles Fok etree Slay der sue ana bass ‘hishounstotn aol wand st sob anon isa eed woven uresed wos abrowah son ey carta yee dean cher ster he bse aero aes sino annus where pe ‘header ote iege Te pate repens raesr 136Rendering skin tone to look realistic using gradation of tone Togive the body a east, treed mensional appearance the skin has tobe shaded to resemble tha way Wappear in ely with reas in ight and aeasin shadow This rule applies oral diferent, skin tones, both ight and dak ‘Although in actual light conditions thereis a contin ‘uous gradation of shading onthe skin ftom ight 0 dark. in fashion drawing the convention is, inthe Interests of speed and simplicity, to teduce this gra dation to thrae values—light, medium and dark time permits, however, as seen in many ofthe draw Ingsin thisbook many more aves of gradation can ‘be addedh, When using markers, te ight values cteated by leaving the white surface ofthe paper ‘unmarked: the medium values the marker color chosen forthe skin tone and the dark value i the ‘marker color chosen for shading When drawing skin tone using shading. sit appears three dimensional, the first decison to be ‘made concerns the direction f the light source— ‘whether itwill appear from the frontor side. fa dcision is made to light the figure from the rant the sides ofthe figure willbe in shadow if om the side the shadows will appear on the opposite side from the light sourcs. Wit kom the front a narrow strip of light appears down the center ofthe torso logs and arms which is shown by leaving a narrow strip of paper unmarked. Tha res of the igure receives an appt cation of skin tone color. On the upper body hiss ‘applied on either side o the stip of ight using a careful vertical up-and-down stroke On the legs and cms, application is mado with long, vertical stokes ‘rom the hins tothe knees and knees to feet and shoulders to elbows and elbows to wrists, running the marker long the contours of the igure. alow inga thin vertical strip of ight, about an eighth of an inch wide, to remain inthe center ofthe legs Streaking can accutin skin tone colori itis applied ‘wit short, jerky strokes. To avoid this itis best to apy the marker with smaoth, continuous stokes, ‘and not removing it from the surface ofthe paperin migeaction. This is a technique that has to be mas tered, and itis useful to practice making long. con tinuous strokes ona separate piece of paper before beginning the drawingend cn ane sn one, Drsinomice Cristo deinen fares ar Glare gig sveedmrsors appear. Tre ce “flat theinaintone wth rr apscaons ter on Pinhead ketene ace scr yen In color/shaaing the Tace/color CNoices Drawing the Face in color Drawing the face, particulary when rawingitin colo, requires a delicate touch anda sensthy tothe subst tiny shits in he features that can rest in cromatc changes in expression. h general the marker shouldbe held lose tothe tp to exert a greater degree of convo wnt shorter stokes Rs easy to make mistakes when trawing te face st contains lage amount fino maton na smallarea for example, an eve placed an tghth ofan inch above the ther wilmake the face appeer hopelessly asymmetecal and stated Practica makes perlect but experiencing dculy craig the {aces acsabl to switch to colored pene tc the eatutes. sian be easy erased and corrected. Keep in mind that al the main features ofthe face—ihe ‘width ofthe eye the length a thenase and the width of the mouth-are about the same sze: a commen aor f ‘example, isto draw tha mouth too low onthe face: the ‘mouth should be kept close tothe nose, and as reat the face willook younger and more natural. The chin should always be included in the crawing-itis approx ‘mately he same size asthe mouth! Shading the Face To diaw the face realistically to appear tree-dimension al. tisnecessary to show clearly the various lanes of the face by indicating areas ol ight and shade, This can be achieved in two ways the fst involves dfn the full ange of valves that make up the planes ofthe face. the second defines only the shaded areas ofthe fac, For the first method use a blended color ofilin the fc in all aceas except those where highlights usualy appes ie. the bridge and tip ofthe nose, the cheekbones, the point ofthe chin and the ine ofthe aw A second ayer ‘ot col. slightly darker than the fists then pled in the areas ofthe face that ae in shadow the eye socket ‘along the side ofthe nase, under the nose inthe mich ‘ofthe mouth, under the lips along the side ofthe face and under the jawine, Blended colar an be applied o the cheeks ralang the side of th face to show reflec ‘light and perhaps, particulary if blended rse colo is used, a healthy, vibrant skin especialy wth chien) ‘When drawing the skin tonas of darkerskinned races th highlights ae applied afterwards using a white penci \With the second method of drawing the face naturalist cal the features of the face are fist drawn wth a light colored pencil and skin tone is applied only 10 the ‘areas where shadows form, using blended colt. \eriations in value canbe achieved by applying a secon layer in areas where shadows are deeper. Color Choices Colo choices canbe used, of cours, to represent nat ral skin colors, ut thay aso are effective devioes to cre ate value contrast and dynamism in a drawing. As wth the makeup used in fashion shows, loense can also be taken when drawing fashion and colors chosen that ‘ot naturalistic but dramatize and enhance the present sion of the gaements ‘The drawings onthe previous and following pages sho ‘wide range of skin colors and shading techniques, ‘dean on front view and three quarter faces. The thes ‘quarter face shows the planes of the face more drama cally 30 the darkand light areas can be clearly perceive‘Thana apteation of colar 108) se on rin Beedbege stn tne ioninghiotontson reed srcnoas Cant aed alt ry sepia ‘Bene beige skin tones Hernan bore senate senator yo ia Beno ron apts over odes Exit thebrdgect te ose. arden tps. Buck pons umd- = sreng eyebrow and Eyes and Make up Asin teal if. makeup dramatizes the face and adds accents to the clothing ‘When drawing eyes, note that they are akways lowor on the inside and higher onthe outside The line at the top ofthe eye represents the evolashes viewed from the front and is darker than the line Under the eye. Makeup is drawn in delicately with ‘ether marker or blended marker depending on how saturated the color ofthe makeup i. White ‘ge! pen can be used to bring in elections around the eye-to the upper and lower i, the is, aye brow & ¢ a UWomandcoolotrs ‘Shiny shan soon se & esc eh siete te 187Lips and Lipstick “The base colo th sticks opti wil ed marker and accents are added the between the i with colored enol Hi are createdin the centro ho bp tha the white of the paper unmarked or ea ‘white penci or wh dar as, whitessects errsaatesns aces Hair Ir fashion drawing hat frames the face. making prettior, and aocessorizes the gatments. Hair can be treated in @ numberof ways, ranging rom a natural look to highly atfcial colors and shapes. Accessor: jes can be added to te hair—bows, clips tiaras, feathers hai extensions fr example—and hat styles on the runway have become wild and exuberant In drawing. the hair should be thought of asa series of shapes, somatimes simple, somtimes mare complex. For baginnersitis easiest to draw the out line ofthe hair and to fil in with the desired cola The edges of the haircan then be broken up ing second easy stop, using curved lines for wavy ha nd straight ines for straight hai, Remember, hae frames the face, fling in tan angle towards the javelin. Itdoos not, unless you happen to cloaaly resemble Cleopatrs. nina horizontal ine ledges are always broken up and nover horizontal Im more advanced treatments of har to.adel degth and realsm to the drawing, the more complex shapes that lie within the simple outine shapes ‘each have to be identified and shaded rom darko light. Darker shadows often appear close to the ace ‘and under the chin, anhair further away fom the face appears progressively lighter. tis best to avoid using too many ins to express hair most ofthe {tal should be added onl tthe outer edges of tha silhouette so the drawing does not end up with the look ofabca's nest. Make sue the lines ofthe nai are parallel and draw in the dracon in which ‘the hair als, Use photo of face fr retetence and trace inthe eutve ofthe hae witha finger. for gue ‘ance. Note that with blonde hai shadows appear darker than the shadows around red or dark ai as the value contrast is greater Highlights can be added to hair in one of wo ways either by allowing the whit ofthe paper to show ‘through the hair or by acing highlights with white pencil after the hair has been filed in. Light ayes of ‘calor built up inthe air can give it richness and beauty beyond s single aplication of colar, 159160 ian. Step 1. inhair straight with complex highlights/tousled look ¥ Ob hal wn colitis cine ld bronn penal where the hr bras sighty ay fom “oudodtoaktt Sup 1.Dsne st ota ira we Sdght har win complex hghights Sto 2a Toute ak Stn 2. As ner colre per Friar teeswavy/curly/do not do'sColor alterations in photoshop wali icogeinerpractice and exercises Beginners 1. Choose a croquis rom the Chaptr Tres Chapter Si and iin comgletely wit neta tone. Using a penci add eye shadows 2. Copy a face rom this chapter. Filin wil <.Draw a simple ron view eroquis. Adda to the face and body. Add the detaisothe hair using colored pencils 4,{)Draw a page of heads each wih ier make-up.) Draw the same foe ten imesh different skin tones. 5. Drew a page of mouths wth diferent i 6.Using images trom magazines psig from the internet of hairstyles youl, is ther then copy them using markers 7. Copy aface and hairstyle you tke anda ‘olor ofthe bai. 8, Copy. face and hairstyle youlikeand ca skintone. make up and haircolorStep Four: Shading Then step in crowing te fstian For ‘montis the application of shading Shading deptton of shadow onthe sac lc fand he simultaneous depiction of igh ha ing ot present genera pecking was closet. ight source will have no shad trees further awey wil eppea da onda Shad). Te accurate rarest cat Shedow in a drowngis whet males oem ‘tppoar rea and theo dmonsional Wea fteoppcaion of shina dawings la and twodimensional ‘Atan advanced lovel shading techniques ca 50 desired, used ta give near photographie santation ofthe surface quits fife sis covered in Chapter Four: Fabrics. Ath tlementaty level, however the focusses the general rules for how to shade drape a bbends around and fals orn te gure. The riques are ilustrated with reference tod ‘ments of nonspeciied fabrics. Shadingo specific fabrics isnot yet atterptedin hse but features in detain the next chaptar on women's fashion Each ofthe drawings inthis chapter shows basic shading is applied to igure ad ga Note that as arule shading i added s fal toaccentuate the shape and surface apa the fabrics and 1 hep ferent separa ‘ments where tay are layered over each When working witrtighter fais, howevei ‘uite common to make an inital cutie aa ‘of marker to represent shading before ahi ‘main colors of the garments: Adting thes first indicates were the highlights wil ape the final drawing, nd with ight colored ga highlights are shown by leaving the hited paper unmarked. tis easier to tll where Fighlights formed ay unmarked paper will positon of the darker, shaded, parts kom ‘main colo of the garments led before shading its essy to apply erroneously ra ‘that should be aft white Preparing to Draw Before beginning to dave a umberal { preparatory tasks should be perormed ‘These are listed on page 26 in Chapt ‘Stan The ring hows where shang sapped rca wher shows em 178Feces oes r \ re fe Oana Atomiewsto. Spa. atte foe Sep8. Addshoingtote cet Risso St ete ede cobs Sistite stent caw alte Trecusidtwaddehsioenbtre tebe aed is Tbe corte tvs endanger or of ey oroftiegnmentberaueitewsogetne nang tan heap todos Testowsunrchowngsgeren wit sdieppedshaude sn hecelrenends— derenal haoghtnewnotesentaend cag Te cal ote Preeti Dawinthecoqisyth Stove te shoud ine wd round back {tequy eee to wort om tet \Sotins bet The Tiguocn ung coy pod pence tanaka hacker res cut a the thar Theseandatape fe shadows ino acr ai Canurworthe Weta beet cutinad om The ight at conta wih eke ‘lepecsen the penton he by elior aes ates ne crinaatranhundeibegarment thie giangachapeatncao he veal oth eae he eon Chapt Teen ‘Soesme eo tiain fontne ono ae Dewininehrvathasinpeshaps huang Shang dilewtabes} ska om op Sangster fe tad toys bl hen speadng ou isoonom epee weed at tabecewn, Rp adng mga chorale hae.tailored jacket/denim pants ep Tle achat esp. womens person ‘Sp 2.Orsw inte shoueta Te bck oft clar ‘Sp 8, The lor oth et eaten ah br stund face ihre shonn eyes Segara carom en secu yodtl apoewencs te chan dam Nota to sors hve ‘Show ape atthe nee andanle The techie sown =Ditutpr cf tiehem tucked wo mopar.ed jacket/denim pantsJean jacket/camisole/shorts separatesSoft wool coat Sp 1. Drow hacen. Art co sled Sp 2.0 nthe shout ol he coat showing mt ‘Sup 3st ne scl otte at Sesh tkarel by mown assy tom Ie shaudes ensngup and down tom ed ‘ea abo te snatch ses! ho gent wast and turd te dons Noje tat he ated omar deere, ‘ute ite omehasestheche taunt Dow nineA ‘Step. The folds ofthe shirt and pants are jum in width and appear in the garment \where the body underneath bends-a the clbows and knaes-and where the fabric pull-om the armhole and around the west Filin skirtone, outline garment and pay tention oft and sihouette cotton/tallorea cotton shirt and pants ‘Step 2. Choose a color forthe shadows that i a darker value ofthe fabric colo, In the pants black is used to define the shadow and light pone is applied tothe surface ofthe folds. ‘Stop 3The hair and make upissoftand Youthful and gives an interesting conta the masculine appesrance ofthe shitle/ Stretch knit swimsult/nyion jacket Step 2. Swimsuits wil shows rnultipl slim to indicate they ae bending and fetching — drawn with ight grey pencil ora ‘00 gray 103%) marker. The shiny jacket has ‘multiple folds and floats away from the body (the hood and the her) because the fabrics a light nylon. The ful sihouete of the jacket Ccontasts wth the figure-hugging sihouette fejacketisa high density microti. ict a. neandoutine the garments ‘and leave slim ar through onthe trim at the wrist The backack is ‘tap 3. Fillin the jacket with black marker so! the paper to show the folds and the rib 1 to indicate shine sd with grey penghtweight nit tops rumbers of slim, rounded ustbeceaty shown. Outine showing where they are com mols, Ths wil usualy bo the body where the hip sits up- Sailing nthe pants kand white/knitted tee-shirt/black pants/leather jacket/bag ‘tap 2. Begin to shade the inter folds with a warm grey marker. The folds are ‘of itferent widths so the shadoves wil also be o diferent widths. ‘Stap 3. Adda second application of the same cori the interiors of the ols.‘Step 1.Fillin skin tone, outline garments, The bodice fs tightly and the gathered skirt has volume and round drape. The side panes are file in with black marker. ‘Step 2. Working from light to dark coors fist filin the skit and the center panel ofthe bodice wth the lightest colora very light beige, which wil serve as the lightest pat ofthe surface ofthe fabric, Add darker values ofthe beige inthe interiors ofthe folds inthe skirt with black inthe very deepest pats. The bodice ist rom the ight so shadows appear on the left side and are also created using applications ‘of and brown and black marker. Make sure the coathers start atthe waist wt ‘Step 3. Filin the hai and shoesleather/shiny leather minidress ‘ b Stop 1. Draw in the outline ofthe garment. Thisleather has aster structure and so has @ boxy silhouette. The depth ofthe fabric is ind cated atthe hem witha darker ine. Flin the cess with a medium tone and adda second layer ofthe same color for deeper shadows on the inside ofthe folds and along the sides of ‘the figure. The sheen of the leather is created with a sot application ofa Prismacolor pencil blended atthe top ofthe folds. ‘Step 2. Add skin tone ‘Stop 3. Hair and makeup ar added shoes are filled inleather/leather jacket ‘s aheavier leather acket with ges and litle drape. Black leather Unmarked, asin this crewing, or by filing the whole garment with black end then using ‘grey marker and white pencil directly on top ofthe black, Step 2.The matt dress contrasts withthe shiny black jacket and is drawn using a medi tum value coo! gray witha slighty darker gray pencil forthe shadows, ‘Stop 3. The zinger and details on thebati ‘raw with white gel pen,Coutine garment and pinton te dress. ee so eh ‘Step 2. Tore is a contrast between the fat ‘Graphic pattem ofthe printf the dress and the soft voluminous faux fur ofthe jacket. The faux furis drawn by making successive applications cf ifferent color with markers and adding cob ‘ted pencils while the marker tl wet to cre- ata the soft effect. Make sure that individual lines can be seen atthe sihouette a the gar- ‘ment. nthe cotton dress add grey shadows fallowing the form ofthe body vertically ‘Step 3. ad print using the thin point of red marker. breaking up the pin inside the folds of fabric. Pay attention to variations of shapes fn the dress Add horizontal shading a the hem ofthe areceStep 2.The shine and pleats ole created by drawing rows fsa light grey markor that follow the rows willbend ang curve arcu the garment an ond inthe wide hem atthe base ofthe sit Li isused to add drama toindostetie the leg underneath and to scat the bodice and hem ‘Step 1-Fillin the skin tone and outine the garment. The fabric bends over the out stretched leg and drapes away from the body in diagonal sweeps. Step 3, Warm grey is added wih ext tothe highlights to accent ‘give depth tothe pleats and foldspment noting the jckevs eTethn shape ofthe logs. sand thashape and poorest ith tho shape : De cepesce ‘Step 2. Cleaty identify the direction ofthe light source and start building up the print, ‘around the white highlight on the back of the jacket Use black te the shadows under the arm and lapel-this gives a value contrast that makes the garment ook shiny. ‘top 3. Flin the hair and the bagTHREE-QUARTER VIEW FACE dome nesrereune, angle, so that one side is foreshortened, and draw than when leve thetectueson tis side appear smal han S20 sewing head features on each side of the face are the raw in the canter-front line Size as the others on the same side). Begin eee seen from above Jevel point of view. ie.. not tr below This makes it easier to draw them Correct perspective, as foreshos takes place in one plano, and also means that the vertical positioning of the feature: hheadis the same as on the side or front view face 1 First draw an oval, with curvature on one Side more rounded. representing the side ee Blosest tothe point ct ew, and ater on the drwintheteesya ther, representing the side further away that ce re those on the sick isforesortonod Drawin th contersron ine, May's ovey The er Ng BroUNd he ont of he face. Inthe snorentacteen deavn directly he oval. Draw in aline to divide the head ‘Ne Sdeof thehead vo sections horizontally also bending Fond the suriace ofthe face. As when dravr Ing the side view ofthe face, draw in anothe: fine between that fine and the bottom of the head, and divide that area in two again with another line. Those lines will make cor Placement of the features easier 2 tis possible to start drawing the face trom any point, but its usually easiost ro stort at thenose and mouth. Fi eee Fepresent the base ofthe nose, inthe irae orf Bosition asin the other views, just aver one eyasoctet {quarter up fromthe bottom of the head, This fing curs through the c One third of its length on one side and two thirds onthe other, curving a face ofthe face: for the face at 45°to the plane of the paper features on the horizontal plane of the face ate in these proportions, Draw in the profile of the nose stating on the center-tront line at he Bane pert ofthe face on one side of tis pe tawndrcty om the fOhe third the total area of the oval and shortened and extend Bother section is about two thirds the area from the comer ofthe eye to 5. draw in aline ti ter-front line, about the three-quarter face Bye level half way down the head and con: Recting to the end of the baseline marking its botiom edgeWst be drawn with care and suse it expresses so much tion ofthe face. Slanting the kes the face appear sad. aight eye makes a person idfawing the eye up at the fakes the person appear isshaped ike an almond, fateye level (half-way down he eve slanting uoward the face is ive ove wict eyes are positioned one eve feach edge ofthe face and Beyelength between them— fim and can be drawn with nts: Starting with the Gof the eye, closest to the fine ofthe eye up for a distance, flatten it out as it he eyeball for one third ofthe final third. The lower 165 Up 10 the outer point lise is one third of the eee and sits slightly under fe Upper part ofthe eyeball eyelid onto the eyeball. bthe darkest point of the eye Ppinpaint of light on it The Polthe eyeball is also dark. That the whites of the eyes isa second line that can dower edge of the eye to the eye is recessed in the iThe upper edge of the eye is with darker line to give it phistication. Longer eyes Jol sophistication to the jeyesmake a personIn both realistic or styized iystrations, the location of the main facial features should remain as close FRONT FACE 2s possible to accurate anatornical proportions, Iris s partially covered by the upper lid The eye ee i the mide ofthe fave, one aye ckstance apa. The to of the nose i located hay botwean the eye level and ) chin on the center front line. | ft Eyes are almond hie the lowest quarter Ay). | shaped. The tip of of he face int treo the nse rounded. ‘qual sections. The lowest \ The mouth istihly Section represents the longer than the exe chin area anc the mouth is { swith rounded pur between the top and mise areas onthe op and sections. The distance \ flay betveen the eyebrows and ; the to ofthe head is 80 ‘fvded into treo equal sections. The top section represents the har in.‘pd bridge ofthe nose become part ofthe outine contour ofthe face. je mouth and chin are placed on an andthe iis is oval shaped and sits "fe the ids. Jaw and neck tines stat atthe chin as one, and spit as the upper ine curves tothe ear and the lower ine forms the neck outine. lace a strong shadow undemeath the ci, 3/4 FACE ‘The center front line ofthe 3 face is shifted according to the degree of the tur. Front face proportions remain the same on the side ofthe face closest to the viewer. ‘The far side ofthe fave is foreshortened, The length ofthe foreshortened eye should be reduced. The far ‘comer ofthe foreshortened side of the mouth should bbe brought closer to the center front ine. The bridge ‘of the nose is more pronounced and the far nostrils, barely visible PROFILEFor up-tumed views, foreshorten the length of the face by curving up the chin tine. The eye level is ‘ised, and the bridge of the nose 's foreshortened with a strong ‘emphasis on the mouth and chin. This s an excollont view for big collars and necklaces, due to the elongated neck, Up & DOWN FACES For down-tumed views, sightiy strech the head oval anc bring the eye level down, The chin covers most of the neck, while the bridge ofthe nose is elongated, and the top lip becornes a thin line. Emphasis is on the forehead and hat. CSHADING FACES Faces do not need excessive {a bright highight on top fit atACCESSORIZING HANDS Hands are very expressive and oan become a cramatic focal point in your ilystration. Beauitifuly accessorized in gloves, rings, and bracelets, hands can be essential elements in the design and styling of your model ‘Simple hand positions with attitude wl help showcase the mood of the mode! and the outft. Hands on a hip, waist, ‘or hanging down relaxed, are the most common and practical positions. Every finger should be sketched, gracetuly bont at evar joint,SHOES Designing and ilustrating shoes isFASHION DICTIONARY NECESSARY BASICS For many decades a tailored classic jacket, ‘whether single- or double-breasted, has been SINGLE-BREASTED JACKET a staple of any women’s wardrobe. Shown, bbeiow are variations of the basic fitted jacket with varity of construction details, DOUBLE-BREASTED JACI ick stitch2 3 Q Q g 2 g &