You are on page 1of 129

TO DRAW

Dressing Yo'ur Characters in Casual Wear



vot - -e DRESSING YOUR CHARA,CTERS IN CASUALWEARi

Th~nK you all or ,buying thi~ .book.

You"ll begin by [earning to copy dra!wjn~0 irJ thi's book.

However, this does not mean d upl icatil1g everything line by llne.

Ratrler ta ke ln usefu I information reg a rding 6f]a peg of clothing a II the way dO'/it] "to

th er r wri n k'es.

The drawings ~ v e.re created to a 60S is"t I .Y~u as r'eferel1ce images.

Don't; get too caught up in -cheorie6, U6e 'Ivhat you

ca:n by il1corporating the knowledge into you I" own de~ i g n 5, (\ nd do n'tfc rg et to have Fun.

WeJcame' to How to Draw Mang,a VoM:--' [J,ressing Your Characters: in Casual Wear! This' 'Julu me envers

ewryday clmmrnng.

Table olf Contents

1 , Givi fig Shape, to Characters : "" , , ., , .. ",., , 6

:2. Vi:SlUanzitng Wrinklles """.""" ,, .. ,,, 7

3. Creating Basic Three-Diimans~o:nal]ity ' ,.,; ,.,', 8

4. Wrink:1 es formed frnm 6,ravity " " " 9

5. lines Fouru,d in Clothilng: " "" ; ; .. ; " ;., "" 1 0

Chapter " - Ulllderwearanid f:"shids ,.,.,.,." " .. ,., ,., , 11

Male: U nde'Mear ~ Undefshirffi ,," ;, ; 112

Ma~e Undet1NtJ'ar -lJndefP3nts " " "" "',, 11,4

Fem~,e Underw'Elat·- Bras.,,, , ,,, ., "" .. " ,: 6

~male Underrwe(lf'=' UIil,dBr~a_nts !!"!! ~! ~!!! iii ~ a a ~ ~ ~ .. ~ 'I h '1"1"1' I " .. r. ~ i •• iii i i. i ••••• iii. i •• Ii a a ~ Ii ~ Ii ,I ~ ~ 'I' i' ~ .. " ti'h ~ iii ~., i ~ i i ii i s a ii 1: 9

Quarter CLIP B.rns (Pril.tt:ern B) ." ". , .. , "" , 211

M'ore Qu.arter Cup Blms (Pa.lt:emn 8) "",.,,. "" ............................•.... " .. "',, ......•......... 22

S . b"k' . U ..i

_llimi-' .'IL ,In II .. n uerpants""""""" "",, " .. " 23

Biik:i ni' Underpants"" , .. ,. , •.•......•......•........................... ,t,. •••••••• ,," "" ,,"" •.• " 2.4

Quarter CUIP' Bras ~Patltenl.A) wnh BHdn~ Unde'rpants - Low Ang~e 25

QUaJrter Gup Bras {Pattern A} with Bii.kin~ Unde'rpants - High: Ang~e ;, 26

More Quarter Cup Bras (Patte.m 8) with Selmil-bikjlflli UnderlJants= Low Mg'le " ; , ,., 28

More Quarter Cup Bras (Pattem EI) wnrh Semii~bHdnii Underp8nts - High Ang!le ",.,""", 2.'9

Sparttswear Uno erg'arme:ots " " "' .. ", 3,0

Ungeinie """,, " "" " ." "." .. " 3.~

.standing W'ear.ing a T~s!hirt , " "'." : " .. ".", 39

srnndi Wig Wieari ng a T ~shi rt - Low Angle " .. "; 040

Sitting] on the Kfle~I$, Wearing a I-shirl: " ,,"" "."' 4·~

Sitting at Ease Wearimg a T-shirt , "''', ,, ;, 4:2

Simng with Ithe L8gS Extended Wooring a T-shil1 " ,.;.; ,; , 44-

Sitting Cross-legged WElar~mg a r:'shirt ,." ; , ; 46

N"" 'd' .. '0' ... 1/",. c ·We-, •. , . -r· 'h·rt· n "",.t 41-'

~ !Xl.!"! HI!;! on . ne· 1\lliee . earl fig a . -8 . II . ~ Fal!L 'I «".,,' .,. " ., " ,' "",. '.

s-tandi ng on One Knee' Wean ngl a T~shilr1 - Parr 2. "., , , 48

Sitting1li" a. Chair Wearing a T-shlirlL " 49

Drossiing the LegiS We·aring, a T~shirtt 50

Chapter :2 _, liops, a.nd Sk:mrts "." "." ,."" "." .. 51

Sweatshhts and Skjrts , ,.,., ""'" ".," ".; " 52

Orewneck_s , , " ,. •.•.• ,,; •............................. 54

Crewnecks - Hiigh AI1I,gJe ...•......•.•....•.•... " .. """"""" .. " .. "" ....•......•.•....•.•.....•••• ,, .• ,. "'"., .,,., , .• , •• , •••.•.•..••.....••• ,.55

F'olding the Arm'Ei ,," .,,""""',. ". uu! ••••••••••••••••••••••••••••••••••• ".," •••••• ," ,." ••••••••••••••••••••••••• 56

Bendinglto the S.~de """"".,, .,,"" .""." "" .. " .. " 58

Bendingl to the Si!OEl- H~gh Arlgle' ".;.; 611

Turning me B(]d~I' "."", .. "., , " ,,"" ;, .. "" ·62

TUJrnirtg the BodlY - Hliglh Angle." " .•.•....•.•......•......•. a a a •••••••• " •••••••••••••••••••••••••••••••••••••••••••••••••••••••• 63

PI1cklng Something Up _. Part 11 ' , " .. ",.,', " ,,64,

Plckill1g Somettltngl Up - p.art 2 , H ••• " •••••••••••••••••••••••••••••••••••••••••• 65

Pickirl',QBomettJing' Up - Part 3 " ,'" .•. "., " , •.•....•.•.............•... ,,66

PrcKi'hg Something, Up- Palt4 ".,., .. " ,.,.,.67

elJ!!1~i I"Ig,. BaGk '" .. "',',,,.,, "",, "" 68

I36lldj I'1Q Baoek,~ !Higih mg Ile ......•.• , ...•.•. ,', .. , .•. , " . """ , 6.9

Slttifl~ flJlr th.8! Knees ,,',','" ..•. " .. " .•.............•..................... " .. " 70

Sn~l1ig al" fas9 , " , "" " , 711

Sitting \l1i~h the Legs Ex:ttended .•.•............... '.' ,., , ...•........•.................. 73

'Sittlng with the Legs Bent " "" " .. "',..,_ ,, "74

.8,rnl1lclffg on. One KnENE! ••••••••••••••••••••••••••..•...... " .. "",, ", .. " ••••••••••••••••••• " •• 7S

Ptlttlng On and Taking' Off Swe~tslhirts - Fm.rrt Angle " " 77

Mllrig Dnand' Takiing Off Swe~tshirts - S~'cle Angl'e " ,,, 79

PlLltting On and TakJing Off Swemshirts ~ Rear Angle 81

SitlirlQ rn D, ·Chair' .... lJllI ••••••••••••••••••••••• ~"l~.~"l'!~'1'1'1'1'1~., .. ·1·1,1,,1,11,1.~I.~~~~hh~iliI~~ ••••••••••••••••••••••••••••••• ~~.IILlLlLI •• Illlll. Illlnn.~ ••••• 83

Cre&slng_ the Legs " , .. ,., .. , .• , " ..•. ' .....• ,'" ..•.•.................... ~ ' ''''' .",.' , .. ' 84

Slan"dlng Ol'l All Fours , ",., .. " , ,.,', ,' ,.,,' 86

I_e"gs Crossed .+0 , "', .. , , ' ", ', •• ' ," """,,121

S~l1g Cn:Jss~legg!lJd "', ......•.. " ,. "122

Rlilillllg, 0111 Dne.'g Butitoaks ..... , " .•. , " .•..................................................•.•.............•.................... :123

l1Joki'l'!g, Bac:~ 1:ll1 All Fours - Unl~Diped 124

Puttl rig On' ami laking Off Jac'ke1ts - Part. 1 .".,.,., , 1126

PuttIng On, anti laking" Off Jac'kffffi ~ Part :2 " .. " 1 28

Chapte.r :I - Jackets and Jea os '.m ., •. , ••••••••••••••••••••••••••••••••••••••••••••••••••••••• , •• 87

Jaoekets , "' ,' ,,, ,,",, '" "' S8

Quality and' 'Feel ,,'., ~ ,., .. ,."'.,' ' ,94

J8ans Il •• " •• , ••• '.~J •••• 1I ••••••••••••••••••••••••• !!!!!.!!!!l1 ~ ~.!!,. ii i ~ ~! ~"~,, ~,~ ~ ~ oj ~ •• ~ +~ , ~ r.· r n ~ n n iI ••••••••••••••••••••••••••••••••••••••••••• 96

StaJ1.~ing - Zip,pecl , .. ,., a a a a a a •• a a a •••••• ' ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 98

Standing - 'Z~'fI,ped, low Ang.le· ..................................•.• , .. , •.•.... '.'., .. ' , 1~ 00

OrJe Am'! RaJsed - Zllpped', Slight Side AngiE! ,,' , 1 02

Orle Ami ~aj:se_d to' the S~(je - Zipped, Front A!rJglle ".,., " "." .. , " 1 04

OrmAmlIRaksed to 'lhe Side- lJ nzipped, Heat Anglle •.•................ , , ~ 06

O~~ A:trm Aaiis~d 100 the Side .~. Unzippedl, Ri'ght Sl.de Front Anglle 1 08

IBOth ~m!S :~aisedl~, Unziipped " """",, , 11 10

T~ming -tile ~(]dy,~ Zipped, " " , " " .. " 11';2,

T~l"lllrtg tie '~ndy ~";;::ippedl Low .Angle "" """" "" 114

BeMing to UlleSlde-lnpped' , "., , 116

BElnding Barck: _. Zi pped ,', " " ' .. ' ......•.... ' .. ' 118

SJtlifig i'n aJ ChaJr ! •••••• '! •••••••••• n •••• ~ IJ n. ~ ~ •• '" ••••••••••••••••••••••••••••••••••• !.! •• , ••••• II! ~ ~ II! ••• '! a '!! .. ~ a .. ;! .. "' .. ~ ~,~ ~ ~,. ...... ",~""" rI '1"I'·I"I'·I"I"I"~'I·,~,t 1'20

When drawing ,clothing, roug1hllY SketCt1 the character's entire body. Give shape, to the ch sracter and (U!j'ust tIl,a balance of the d rawi ng.

Phrture Ulli!~ shape as your charm::tHf naked Thilnk.of drawing dmlllng as dressin g you r character.

These drawings. .represent ile shape of ~he characters. VisuaJize the joint areas as spheres in your miind when draWilng.

6

Draw th 8cl:ol:i I n gl on top of the slhape as tifyou were dressi rig lhe character, At this Ipoint, takeinlo consideration toe Silt! of the clothing.

TOooO LOOSE'

In addition, when material is stretched as III I ustrated, small wri'lllkJes are fanned.

Wrinkles a1Wi1l:Ys I~me with clothing. So, whem, do, wnnkfes to,m anywa.y? View wrinkles as a basic means to axpre,ss·1'1lfee'-

di melllsionial ~y,

The basjc thenr~ il1volves d rtw~ng Gmv~d linm; for un ~ven parts of material' {j,e~eFlding, on til a expansion and contraGtion O'f the el(ltllinglln places where tile body bends" Most wrinkles tend to appear il1 these places.

From a dmwing standpoint, wrinkles can bEl' de'fined as uneven are'as fo.rmed from e.xpans:I(J1fJ and con1ra,ctiolil.

In thIs e-xamplie. wlllillkles gath,er amun,d a bent arm. Most of l1Ie wrinkles. ffOrm flIe-ar the ins!ide of th'8' contrnctfiJd arm.

7

Attachin'9 ,a tone to the side of a box is the basic meilhcd for brlngling out three-dimolnsionalfty. The same method can b-e used for wrinkles by atmchlililg a tene to the bul:ged parts.

To acoent the' threEHlime nsionallity" add a tone. to the ,DJU'tge in the material ]ust Iii Ke 'with the side of the box.

Ho:wev,er~ wnniklBs mum complex shalPes for varlous reasons. Don't wonry' about lhe details too much. Fa! you r head wilth the basics and draw from there.

Light SO!JIrC6

\ /

The shape of the bulges varies cepeno i ng on thle! ,angie in whicll ttheyare viewed. COnsider the! ,a:nglll8! and the n1ir.eGtioll of the light smut!:! wlhelll atlachirlg tones to th,s shaded areas of tile material,

Attach 3 ton-em the side Qf box to accent the tllr,ee-, di mensionality.

A big part of drawrn.gl is visualizing tlhe imag!s 111:'1 your mind. The same logic can be applied to dra.wil1lgl wrinkles. While tlhere is no. better way' to hone YOlJlr limaginativ8' siijilis thElll1 IP.rElctiG~:, possessing an understandinglof the fundamentals and ta,kUl'Ig lihese into consideratioll when drawing lis th,s fastest way to iimprove yaurskiliis.

First, consider th:e fight scurce and imaglrtle wnl8re the bulges, ijn th.e wrinkles willi appear.

Til en, attach tones to accent t:I1e thmB ~

dl~m enoBionali[¥"

Example k. Wrinkles that hang l'en!1iU1rwlse towards the grouml.

,

: [)'Elpending on the, ,effects of glnlvity.,a variety I)f ;,;,,;,,=..:;~~ wrinkles appear frcrn wriilllkies that. failllSJrlQrthwise

toward the ground to wrinkles that hang from fue left and right. Wrinkles also form illi the' direction of [he body motion.

1ha ~rrn~IP'IElS' from examlJl'e B"'OaJ1 be 3ppliB<! 'fur eharaGte~s wttl1large breasts wearlng blg: dofhit1g.

Exa.m pie B: WrinKles tn3t droop crown from the lefit: 81m:! right.

Raising th e arms to tthe n 9 ht and left stretcnes the c:lo~h i n:g t;onmilng wrnnklles. However, since t11e wrink'ies also droop down due to gravity, the: principl'BS from Example B can also be applied here.

111B ~rrncij;Jl,es" rmm. Bxam~le AlJanbe a~plied-t(]i am85Ii~til' tbis,

As the body baCik.wards, wrlink.l,es form in the dirl8cUon 01 the bocly motion,

9

The skirt is Iprobably the area aJffected most bygrnvity rand th6 direction of mcvement

Wih i 18' th e body Ieans forward, the skirt tilts backward.

Ski'UM artists place hilgh emphasis on the overall balance of the dr,awing as a silhoueHe.

TI1e same IPrincjpla can be applied to drawinglthe bodies: rlf your character.

Jacket Iline

Archedllille

x-une

Tent line

........ ____..,......::..oo_=--~ _

All forms of C:lottliingl possess tI1~e·i r own u llIique lines, Being aware of this and vilsualizirag th·em can help !improve your design skins.

10

Take into account the li~e8 that diff,srem wpes off cl'oiltll n'g possess when considerion gl the oyernl~ lbaJianDfJ of the ch'aracter.

Chapter 1

U de .. d h·

In, erwear erne T-s __ lrts

• I

Underwear liS something that lis generally not shown to other peoplle, Since, yQU simply can't go aroundl askiing the opposite sex to show y,ou ttheiir underwear, Uilis secflen has been designed for YOLI - I,eam~rng,

Undershirts are male unden"lear desiignEKI to eever th:a IJPper noely wiU, the most basic type bei fig the T-shirt Other gleneral types im;lude: running shirts,. nonsleeved shirts, and surfer shirts. The three basi,G necklines are ilUusbrated here ..

12'

U-neck and V-neck types are otten wtlm with open-necked shiirl!s or 'Wtmnl shirts Eire WOlin slug htl'y unbultOOned.

#J:j. the !'lame Sij_gg~sts, tl1is stlirt ha.s fin' sle.e,ves. These are usually· 'Mlm in the summer. JJflll~~ fihfij nmnillg

sh irt, the iIi~e:a of thl1S€ ~~iris d'{m't snow I:lp.

Thel IJe:tk area iQf nmn i n.gl sltlrts hilS a variety ofr c~ts.

While ttlis is a nonsleeved sih i rt, the design ls sliglh1Jy different.

13

Underpanfs are desig ned to COII,er the Ilower body. There are three basic types: briefs, boxers and frunks,

Brilefs with a high cut design are ca.ll€d b i Kli n i briefs.

Tbls illlustratioll1 shows the basic brl.et" ,d:8slgn. Ihere IS an open i ng in fuejTo~

This d.es~gn has an opening iln the front

Br'i'efs with an 8'xbemel!l high cut des~gn are cailled super bikini brims.

I

The shape of theseolfiefs looks 811m like trunks. They am sometimes Galled boxer briefs am:ll1ave me same short. tigl11 fit-as briefs.

Boxers. VaiY in their dssi'gn and wheth,er or not they have an opening.

14 nis type does not have an e pel11ng.

~. ~.

Trunks" 'Which are sometime:s e:alll,ed boxers, have asitralght looK w,ilh plenty of room to move around in.

Awldf! varrerty of designs can be created .b,y \iarying things like the cut. Her-a are just a few of the' many possibUiibies.

In ge~Bral, men's briefs have an opening lin tne frent but a few types dOl nat

:t

Bri~is with all opening in th8' front.

Designer briefs with an opening in the frol1t.

15

Fe male und erwear is also known as in nerwear. Femal.Elling.erie comes, in a wealth of desigrfls, with a much wid'er varjrety than maJ'B underwear:

Bras came in a wide variety olf cups, des,lglls ami func1bi,ons to mast tine siz'Elof their users and to COml)iemellt other nlll)th]ng. Consider whic!h 'bra works best for the body shape and silhlJUH'tJte of your characte-r.

Mosit of these are gear.ed for characters that wear A or B cupped bras.

This type IJsmllily has a Wilrre attached to.Mle lower area that can be used wl:th a wilde range of cup sees.

Lift Up,

The mats'rial that mekes up the eu p is dtvided into two layers, Straps on the sides andme bottom puslh the breasts togeliiher adding volume and llIakijng the breasts rounder.

1 ES"

Th jiS bra wraps the enti re breast area and is well' suited far Gha_rader.s with large breasts.

Push Up, Bras

lhe construction IOf this bra brings togletl1.er the breasts from both sld!8's creating a D.1eavage Iii n e.

Then~ is an f!lttn3mely small joint, knQwn as the hook, whicnl cl'asps the breasts ta~,eti1er 00 shown in the iUl-J!!ltrnti,ans. Howe'Ver" not all designs, ,like Mlis f::3fl be classifi,ed 3.s front hook Ib ras.

The straps on tills bra EilFlll removable maki n,gl it easy to wear witH clothing that shows ~h,8 Shu[J:I"ders or l::~e3I1age.

fill unO'l!'r-wire I~ otWiI attat:hed under the cop area maid jij'J the lifUng 1unc1lion. Sincs' this 's the case, be ,sure and ,consider ~he wl~e alon~ tIlEl OlJ~ ~m::l .avoid getting ,off the tra[';~ ~ tile el'l!poo.

A long corset" also knOWil as a lJustier, below' the cups, whI ch acts like a belt gives, th,ils tu.a its name. The fit ,a!nd bon ing has an effect of Udying up tile waistline. This is an inremstiing bra from a deBignsmndprl,i nt

This part has an under-wi re insid,e of 'it

11

Various other desi'glns exist in addition to the prevIous examlJles. PleasE: compare the

d iHere'neEls ..

There are also a variety of cuts for

the ""P area. I

Th is ~s a: full C:'U p bra where the cup and stmp are jOlnedias. Onlii pi ece of mat8,ri~1.

16

t

There are all sorts of d ifferoo

dl3'sigl'ls for the band below this, cup area.

Women often wear this Wipe W1i1ih j1eans or Wrousers to avoidi showing a panty llne,

Since-a wide variety of desiglns and patte-ms, exls1,we will examlne the ba61c categories here.

While ~Qme di'ffereru:;es are seen with the ,t;ut erou n:d the leg depend1jlog Of! the kind, the ilNustrntiolls here show the basic design of femaJe LUllde~par1ts.

his kil1d emphasizes design over

functiOIl. If Jour c~aract8r is wtlalf1ing thiis ~pe ()f urt~erpants. she may be trying to ap~eitl ro sam e ,other clmracter.

Tile' Image usually assm;iated with th,ls type Is that of little girl. The basic tUJ1ctions of mese 3H3 ~nsulatlol1 to hem and 3bsorpti~on of sweat. tne most bas~c desl'gn covers the be Hybution.

19

Let's tak.e B ~ook from various angles.

20

Let's taicie a look at the <;

difference ln the design of the ffands and cut of the cup.

'" '" .. ,.

'4 ' ..

This bane! design is ,dliffe-rent

21

22

The ,arngl'e of the leg cut shoWIl here is a standard type. Let's take a IOQ'k. at the pants from a var!el.'!/of: angles,

If

I

23

The ang Ie of th e Ileg cut is tighter than with the high-cut

u ndlerpants. Let's take a look at ttl Else from a vaJni ely of angles.

24

2'6

Low Ang.le

27

Low Angle

,

High Angle

While you won't see many people wearing these, this type of underlgarment was ttmught Ulpfor people who pray sports, md exercise,

Sports Shorts

lihe r.lesi{~rl iooksll ke boxers or spats. There should not be an.y prnol,e ms when you draw them as long as you decide Wheti1:ilfth:BY sholJid resemela underwear or spcirisweaf,

30

Whi~e these bras do resemlbll18 sportswear, some of them ,contain wilres under the cup (Ires; which really makes ~hem unde.mear, However, sinc:e the back I'ooks like aerobics wear, it may better 10 draw them like siPorlsweaJr,

Them are also modells where the show,lder straps crisscross in thli'l' back.

Soft Bra

Unglerie seems to have lhe most sense of fash,ion of all' types, of uliIi'Jerwear. There is a wealth of types from s Ilips to camisoles.



TI1ilytQm€ i:n a variety of ~engths

M one:s thEl,t roller the

ttrrbuttoliJ <an~ ol1es that don't.

A cannisol1e' is aJ type oT' ullderwiii'aJI' like 8i slip that has been cut oft' at 1II1e waist.

31

A lot of {;amisoh:i8 are

desiig ned so trmy can also be worn as shirts. lhis type of fashion was PO,PU liar at one time,

32

y

All sorts of shou IdB r straps with varying widthg [JJnd desig ns exist

There sre ailso marJ.els where the straps ~ri~l;:rOO6 ill i1e !Jack.

I

I

I

This is known as 8 bra camisole. lit is B camisde WiUiI CU~ added to the breli$ area like ,8, bra.

~~

A ~arIB~ of~Llt~ al'eng ~'~srd~ exist, from slrafgbt ,ems to V-cui:s.

As the name suggests, this is a combinatiol1l of two garmellts.

SUps ariEl d.rilsigned to prevent skirts from slidiilng be:tw,sel1 the I'ega.

Vari'IJUS sees exiS!: to go with skirts of all I'en gJtM,

There are also slips designed for ad uills - usi~g laceal1d i::ompl€x pattl1ms.

A teddiUe is acombinarnon of a slip and flare panties"

34

hJ shown in Ihe drawing, ·camisoles g:amish,oo with patterned lace many look like Ilingerie'.

lhjs.is an exam pie of flare panties,

Silnc'9 a. camisele j~ llike the upper part of M tiara pants nsecs to make up for the lower of the sUp. Their design csn be C{Jordlinateo Ii. aI pettic-oat pattern.

ledd~e!S come in a variety of designs. from ones with the waist area Ughtened to ones wh,ere the LIpper and lower parts are separate"

Th:l3se are iii combination of seV'{lra~ pleces of lingsifie iTlcludi ng!(l bra I a bu;stier, to 81!m me wa~sUine, ami garter belts.

TMBrB tne ai'! sorts of faSiteri'lfJ:rs, to hold up #krngs, One com man IV seen type is ShIWlI1 h e~B,

As U I usUa.red i

.' hldd'en fasteners also e~st.

Gart1sr belt's, can be worn as p.art of a UIiIgm1e set or independently.

Garter Mlts can aso tie worn under the pooties.

These are for shaping UIP the bust, waist al1d hips. Other types. of undell'Woor fashiior1l that sl1ape up the body' art! bras, girdles; and 111'ng,9 rie sets.

~"

I

\ .

\

36,

This part: has snaps artta.ched making these mrt: on, as wen as, take off.

Diiffaren08S in design manifest in the back area, too. ThiEl strength of tho shaping function Imngesfram setH to medlLJlm '~Q hard and th e seams ~n the mat'sirii3ils rend to elmer depend~ng en thllS,

rn eSB' h,el p shape ~l1e Ibtldy in the waist and! hip

The greater the amolJ~t [ seams, the better the tJ.oc SUli! shap~ the body,

, I~

"'<;!"'~'-'>lo' Also milled sneSf tights, these arre worn' by women as everyday items. B6,igs, black and wh~te are commonly seen colors, Oth,sf cotors sucl1 as red andyelilow also exi:st.

Due to good oontl13lcllibiility and expa:m:lailility,tha pooittion of the seams doe-Ii not cihiang,e.

Modells withl seams around the toes ahli'O B'x:isi.

I

The color amllJndthe hip area changes, w~ttqthij tl1irckness.

The seams around the hip area come i1n a wilde va1i~iety.

37

--

3a

. -,- foumlln lingerie are

""fth "13 natterns "

Mos.t 0 . t' ..nts

Ik>ral andle.Iffi~L~IIO draw the How pre~lIileIY~O you. It ls 8Ilso okay to patterns IS up

gradate them.

come in a W!I'H!e tones I U "."

-". ". . h. many

WJde vane,y". usetllese people tend to

ones.

Let's take a look a mod:el wearing jeans where the hip area is not hiddB'n by·a. jacket.

39

tow Angle

40

43

48

5.0

Chapter 2 Swea,tshirts, end Ski'rts

Hera we' introduce' various ,skirts and tops tnat make up ensembles.

Please be aware that any c,ombination of me varh:rllS kinds, is possible. PI~ase take-a look each of: their differences and m.aJ<;e reterence to mem.

lin addiltion to being wom around lie ~fJUS€, this tvpe of clothung, has a w:ld:e IraJflgll 'of use in fas:hior1. Thij b~ggest diffemru::B' in HIS' designs, lis found in the neckarea.

V-neck I ~ .... ,/ .' .'

't I

Hlg'h-necik

Crewneck

Zip-up 'Neck

U-neck

52

lPo~o Collar

Sl..Ilp.ef Mini; The: shortest skirt possible.

Normal. A skirt cut at the knees. A100 :kn10WTiI as a knee length skJirt

Semi Long: A s!k.~tt somewhere between a normal and lung lengith,

Long: A ilong" skirt.

Maxi: The r.ongiesf skirt poosible.

Narmw

Dirndl

Straight

~Irts witn ,ope n ings ara !JI~m auHt slUrts, Slim are ulten added to IOlilg sklrts to iIBlp maim moving around 11'1 ~em $is;er,

Trumpet

flare

ilet's, take ,3. look at crewnecks.

At first glance, these Illook ea.sy to draw; but when viewed from different angles, they ar~ harder to draw than you would ,expect

"~'f )~

... -

>~

(&

.

,

5S

Let's take a look at how the wrinkles··-

change with fhepose,

56

riigh Angle

57

58

59

'High Angle

6.2

63

Whi'l,e thlis pOSE! has thB model picking something up, please also make rete renee to the' stooping forward pose.

64

High An.gle

66

Ay~~

d····~.

~:;. ~.

j~~X

~~~ ~ :-.; ~. w-:»

" "

,

~I C·

. ;;~ / I"~

,,~ , ~.~

~< ~ ..

c ;._:'

.s

68

I ~~-. -, ...

. ~ ... ~

~ .. ~ ~ .. , . .;

.... y.

.-: ...

.. ..

..... -:-;-.

~ ~ ~~~ :~~~~~ ~~ ~H~ ~::-~ ~ ~~

.... -:- ......

~nn~

-:?~ : ~ ~

Watch the 'changf~s in the long skirt.

'70

7.2.

.. ,;',;.

-, -=-\ .::.. ...

", r ,

75

16

Front Angle J

77

82

8S

86

Chapter 3 Ja,ckets an,d ,Jeans

Jackets come in a wide' variety. Riglht jackets and riders jackets are two commonly seen types.

I 11] 1! 925 t the U.S. mil itary I nvanted tUg ht ja.ckets to pnrtec1 p!iloll:l from cold

temlp eratu res at. highl a.ititm:les. It seem s the styl,e grew lin popuiaJiity andi was utilized lin dvilian fashlr:ln f;or riders jackets and stadium Jackets.,

Motorcycle erilthusiasts mal{e use of the anti-cold functionality and the collar ,and cuffs are usually fltted with elastics or belts 10. ful1tll:lr pmtect the body 'from the wind. Other parts {)If tihe jae-katt. are made of rnatenals that pe,nmit ihe body' to move easily.

The military protmbl.y tholJght 'hese up with ti1eir easy-towear nature in mind, The collar and cuffs seem to 00 mostly. made "if rliJloblBf,

a8

I

\

J'.acke1: i'3 a general term fOf clothing wornl f'Or outdoor use. Ths length exteDlds a bit beyond l1e waist AnYthing langler is gelllerally not caUed a jacket.

. . .

8ll'1Ge flig ht jackets werE' designed for nne millit3ry! they emphasize fu nctlon .over styl eo.

~n ,~ilff8fenCilS IBxj'st in the ~rde 1m coHars.

,I

stand=up Collars

Dlfferenc:es are lf1oticeabll,e (jependi~g on the design s'uch as how the col1iar Silfe~d's om towards the outsi'de or if the tip Of the collar is rounded or not,

..

.ti-'t

""

As the namesug!lest$, theee

jackets Were thought up f'Of motoreycle rliders, Simple i as, wall as I lavish desigrns are com mon,~'lace.

The desJign o,f lUhe vQI'liar-and cuffs has been tlghtened wil:h heat insulation in mind,

While, flig,nlt iiackets place a preference on easy wear using mrunlyelastic and/or strings to tignlten the clallingl, rlders jacKets: make use Of· belts ami stmps, This dlflf~ren.ce is' pmbab~ decorative and Interesting designs 08xi&.

This jac~et Is fitted wl:th two belts. The sleeves are a bit 011 . tne longl side with ti:ghtef1l~dI ~ltiffs.

Some designs. Intsrweav the belt fur ti ghtening in1 jacket

90

Tighteni~g th€l' stmps on the left ami rl gM sids prennts the Wind from oomin!:,! in from the bottom,

Strap.

Same jackets uti lila zippers to Ugnten the m .of 'the ~ijJffs and! sleeves.

IX

l~f

l~

91

WhHe It is fi ne to d raw designs that actually exist for lISB In th e wor~ds y1IJU create, 1!ry drawing your own un ilqU8' designs~, Use the basic parts of other designs for refemnCiB when creating the diiFfsfE!llt parts, of your design, 'Whiile the example here l!S a riders j,acket" the same prim::i plijS call be ,appl1ed to fmeiy ,crEN3.te other 'G0s11.lme: <desfgns.

Here are a var~ety of collars in addition to the. ones, mentioned earlier,

'92

Jackets of th i:s des!ig n seem to actually 'BX],st

When all t\h€ rns.teners are c:1:nsed, the ~ack.et loo!{s like this,

IL

BUitton-up Collar"S

Sfal.'Ilum jackets originally came into existenCJ:I as Aileli"ic(1n sportswear ami ~re 8. variety of uses like letlemum Iackets_ln Japan; !!hese jac:kets, are oftelll \lllim 8S' caSlial wear;

bUlirms 011 women's jacket are on tile 'flIlJSi;te side from men's jackets. PI'Bas8

. 1tIa~ moot ,Eli th,s examples: found' ~n this kO{Ql18 for men's ja·ckets. AlsO' be aware til 5DmB women pmfer to w,sar men's

, eYf.m wherl women's desig!F1s E!.l'list. ~ooI5itln on where to place tie buttolls ,nurs,

I

I

I

Swiss Collars

The collar is fol(le.cl in two.

lhi8jac~et with a saJlor coillar lis a nne design.

If a jacket you draw looks Ii ke a jacket, most readers will be ablle to tmagine it as such and ascertain the Qu!tlity and fee:1 of clothing based on the' sh ape "For those who want to furth er ,emj:J'nasiz1EI 'the Qjuallty and feel Ii n you r draw~ ngs, stan by fi rst considering the hardness and

thickn ess of the clioth i I1g.

The buttons on women's jacket are Ion the opposite sl de fro m

men '8 jac keltS. PI ease note tlllEl't most of ~he examples floUind in this blJo.k are for men's ]ackeht ,Also be aware that some womllll prefer to wear men's jackets even when women's designs exist. The decision on where to place the buttons is yours.

CoIMng the shadows with black is 8 . .basi,E: te;[}hnique ·tor emphasiziing the I[lo~ and feel of leather lacksts.

'94

Tile Iline,g, m'tl1e wrinkl'ss change dlepem:ling on the thickness of tI1e material. Thick materiials produce fat I illes:; til in materialls produce d etail,!d lines. Leather is considered ie be a thliGk material.

II n k the shadow with h Ilack.

~ you. color the shadows,

, I conslder the adj I.Istment (If

the nght and the. unevenness o.fthe wrink~es In the Ilsathar;

Theil, attach a liiglht 8m1it'OoTI (b etween 30 and 40%) Of a ,gradation tune' (liver the' entire jack.et. Depending on the light, 'etch out areas that are re1fiecUve and shiny.

Ught strikes I th is !part of tba wflinkle.

The rule of thumb is that wriinkl'es are generally convex areas. Ught sb1kes thie tlJ,p part of the convex

wrinkle. ..

'95

Jaansars one'type of common clothing. Let's take a laok at: i1hslir basic des i~ hi.

These ar,8 th,s same shape a'S the Thi:s is the most basic shapa, straight cUlt but are a M widef.

These jeans, wer€l or~ginally made fm oowooys who wore boots, They wen'! r.:UiI: this way to 811SLJIie easy movement. al1d maintain the masculine sllhouette of the cowoo,y. Tile thigh mea Is ,abft thin, and the knee area Is ttghtenedL Th'B key charnc:te:ristic of the:{Ji3:

Jeans is the way they 6xIP9fld out from the knees , down.

Slim cut jeans accent the legl lines.

Thlese jeans gettl1ilr1rler towa:rds 1116 ankles. 'There 8r" v,anous de:signs for the Uppij area rang,1 ng from tn i n tolh~! diammers.

96

this desigr]1 flows straight down from the waist with IP-I~nty of room all over,

Th~8 design I whtGh was very popular ~11 the 70s" Wi'dens out from jjhe knees IITlo' th,e shape 'Of a b.eH.

A small pocket, IKnOWfil as a coin pocket; is often arttacJled ~n1sjde the right jJoGket

Them aJrI! a Vatriely of poc:ket lin.es on therront of 1Ille jeans.

Th,ij stitching on, ti'lJe llack packets has a s~Bcial d!es'ig n. These ~rrr d'iifterert for Elacfr1 ma,n'ufaCilUlrer illIId ad ~s I.l'lrademark. Jeans with Iltidden stitches also exist

. Belt Loops

A be It is threaded through ~heoo. Ther~ awe IJsLlaliv five belt loops with two in 'title front, two on 'th e sfde and one in the tack, A design also masts with Sellel1l loops far ~xtra. strength.,

97

98

Let's take a look how the je~ns and leather jacket change depending, on the posa from a vari,sty of alllg~es.

10D