ROCK poORT s NAOKI WATANABE 672 iToronto Public Library Lillian A. Smith Contemporary Fashion Illustration Techniques Naoki WatanabeContemparary Fashion lustatonTecriqus by Nook Watanabe st designe ana pulse in Jopan in 2008 ty Gaps Pusting Co Lid 1-17 Rta cha, Tohye 102-0073 Japan 1 2008 Nok Watanabe ‘© 2008 phish Publishing Ca, Li Engi econ published in 2000 by Recker Pulses, he. © 2000 Rskpat Pubicors ight esered No pat of his Bok maybe reproduce in any fom without wren permission of he aprght ns. Al ages nts book Pave Deen reqroducaa th the Knowle and pric consent ‘ot te arte coresrod, anno resanabity ie scoped by prosow, pele, or penta or any ingame capt ar ahewse arn rm te cates ofthis pubic, Every ert has Deon ‘mad oenur that credits ctrl comply wih vomaton sup. Fret punsedin the Untea Stats a maa by Rockport Publishers, a mam of (Quays Pubishing Grup ‘0 curing Center Sate 6: Bevey, Massachusetis 01815-6101 “Telephone (78) 22-9500 Fc ars) 2822742 ‘ov ocipu.com IsoN15:978-1-59258-556-9 Is@N-10:1-50053 556.9, woga7e5432 final desig: obor Okano Cover image: ao Watanabe Protorey Soa Hose He: i Kobayashi (sway) Cooperation Junk ararcto Howes Design Seo Engi ein layout Shin ike English ransltion edges Design Pls “Jnpanese eaten edtor. Sachiko oa (Gaphish Pubising Ca, Lis) Farsgn cee management: Kumko Sekanno (raphic-sa Pasig Co, Li) Pritt ana bound in CinaToronto Palic Libary Introduction Litter KH. Smith Itis by making drawings and experimenting with images on paper that fashion designers develop and give shape to their creative ideas. What is contained in this book is information about fashion design drawing—e vital element that serves as the starting point of garment creation For students, studying the foundation of fashion and means af expression, and for anyone involved in apparel design, the act of drawing is at times enjoyable and at other times arduous. With the joy of drawing, there concurrently exist various constraints in a garment’s conceptual drawing. For example, even ‘when you are capable of making an attractive and skillful fashion design drawing, no garment will result from it unless there is a strong desire for it to be made, Rather than drawing with superficial skill, focus with serious commitment, and from that drawing a garment will be made, As a result your commitment will manifest itself in various ways on that piece of paper On some days you will find it easy to draw, and on others yau will not be able to draw at all. But the more experience you have, the sooner your drawings will be able to express your own unique designs. Numerous amendments and changes are made before a final style is achieved. Therefore, itis essential for designers to make many representations of a garment at its conceptual drawing stage. The impact and quality derived from a garment differs between one created by gathering photographs and information and unstitching sample garments, and one created by single design drawing made with greot care, | would like students to be aware of this paint and far professionéls working in the field to once again recontim it, In this book | will provide explanation and interweave new interpretations, 0 that you will be able to mastar the basics of fashion design drawing—this, includes technical drawing as ll as color illustrations. | assure you that you can find 2 drawing that only you can draw and | encourage you to place high value on this.CONTENTS na Introduction Lesson The Basics of Fashion Design Drawing 009 010 on 012 ou 016 oie o20 022 028 028 028 030 oe oe 037 028 040 oz one 048 048, 2 3 Drawing Arms and Legs 1 Body Proportion Understanding the Beauty of the Body Bone Structure/Joints, Drawing in 8-Head Proportion Understanding Position and Width ‘A Useful Measurement Method 2 Drawing the Head Face [Front] | Face [Profile] Face (Diagonall Eyes/Eyebrows Lesson Dressing Technique Nose/Ears/Lips - Hair Volume ang Flow 052 1 Dressing Hats/Caps Bt 054 | Drawing the Two Dimensional as Arms/Hands Arms| Three Dimensional Arms/Hands [Hands) 05¢ Relation between Fabric anc Body 058 | Selting the Viewpoint 60 | Darts/Gathars/Pleats/Drapes Legs/Feet/Shoes (Legs/Feet! Legs/Feet/Shoes (Shoes] 4 Poses 062 | Fabric Chara istics/Creases Studying Poses fae 64 Use of Various Lines Erect Pose 058 Sketch Pose with Weight on One Leg 088 Drawing from Photogrephs Diagonal Pose [Front Hip Higher) Diagonal Pose [Back Hip Higher] Pose VariationsLesson Coloring Technique on on 07 076 078 80 02 ose 86 age 090 092 09% 098 07a 100 102 1 Coloring Drawing Tools and Materials About Color Drawings Using Various Tools! Materials Solid and Blurred Pointing Coloring Steps 2 Patterns, Drawing Patterns \arious Patterns 3 Materials Material Rendition 4 Drawings of Various Materials Thin Naterials/See-through Materials Kei/Out & Senn Cotton/Danim ‘Autumn/Winter Materials (1) Autumn Materials (2) Lesther/Fur Shiny Materials 5 Processing by Computer Versatile Processing 105 108 107 108 110 m ur ne Ww 120 121 122 123 1% 1% 127 128 Exercise b Garment Item 1 Technical Drawing What is Technical Drawing? Lengths and Divisions Characteristis of Garment item Master Template 2 Technical Drawing Steps 3 Technical Drawings by Computer Creating Parts Converting Colars/Adding Patterns 4 Drawings of Various Items Knitwear Cut & Sewn Blouse/Shirt Dresses Skirts Pants Tailored Jackets Jackets/Blousons Goats Underwear Postscript ‘About the Autharono /Body Proportion _ si Understanding the Beauty of the Body ‘The human body is beautiful and attractive ike a work of art. Observe its form, before designing, with a fabric, Grasping the body image will assure the creation of good design. In Lesson 1, we will draw the bady and its movements repeatedly to master the basies of fashion design drawing, aeLesson 1 The Basics of Fashion Design Drawing | 011 Bone Structure/Joints ‘The bone structure comprising the base of the human body consists entirely of curved lines. ‘We can move these curved bones freely using the joints and muscles. Although the proportion ‘of the bone structure changes during the course of growth regardless of gender, the position ‘and number of joints remain the same. The yellow parts in the illustrations below represent the flexibly bendable vertebra and 12 main joints. The small joints of the face, hands and feet are not ‘shown here, and please note and learn that the areas of these larger joints are not consistent in ‘terms of their form.5 Understanding Position and Width ‘The following five figures are all based on the 8-head proportion, but with a different ‘width and/or position of the shoulders, waist and hips. Figures A and B are the easiest ones with which to obtain a good balance when dressed. On the other hand, -a.garment on figures C, D and E will not represent the design that you intend.Lesson 1 The Basics of Fashion Design Drawing 075 Be sure to remember that the garment will lok totally different on the wrong body proportion, Even when starting with the 8-head proportion, you may easily end Up drawing out of proportion without realizing it. To avoid this, keep the following measurement guide in mind; shoulder width 1.5 heac-length, waist 1 head-tength and hip 1.5 head-length.A Useful Measurement Method ‘There are some simple rules concerning the proportions of the body parts, such as hhands, arms, feet, legs and torso, Once you remember them, they will be very helpful In making design drawings. Use the head-length units cleverly, and you can easily be assured of the right balance, ‘when drawing various poses as shown on the right hand page.a Drawing the Head Face (Front) 2 3 4 Draw rae toate 2 Draw an vere 9, "ave me paces on Have the paces enn, ane (Wxa¢hegs2nr4an ‘he sis ote per par. both sesh vera 2d ines th qa eas Goma 2omor2dnn6 ecenang sgt beyend he certerine by rang ine. aut the ane in(6am en, anaawdein ‘rae Oont mate tho chin Vatvertcaly ang onzonaly, ‘bo poi. aes ITN Ve Draw horaontal ines of equal ena the ier eels. 6 Draw an out of he eyes, making the outer canes a tle higher Draw theses extending er the upper and ower ye nes. 8 Make amark onthe centering 1 eye with below ‘op ofhead. Dv the rest into 8 Poston boton of nose 1/3 above chin. nl 9 Draw bottom of rose rarower than space between th eyes, and the mse asa sole ne fom ether side of nner comes oF the eyes. 10. Draw ears starting rom a it near te comers of he yes na curve tonara ti oF ose, raking tem the same length a ne nose, un Poston bot ot ower ip and centro ips as above ‘raw ips sity wide than space between the oes, 12 ‘raw the ips. The comer angle determines facil expression. Modify the outing ofthe fave ward from blow to nose.Lesson 1 The Basics of Fashion Design Orewng 2°020 Face (Profile) Drawa fame ta ratio ot 5 (W) <8) eg éinx7.20 {10cm x 186m) end ide invert and in ha hia, Draw the Ines of te sk, rose end chi, Draw the tow otha, esteblshing te barloe aston. ve) | 2 a ark dss fr ucetnes Damon 5 gutlines as ssatore ove 6. a Mark poston of ower eyelid Draw the top and bottom wi 2 V7 based one ats ofthe nose Make tip ‘idline Drew the ear based 1 nove ate cved, Drew onthe ip cf head and nose. upper and lower eyels. ake the no a It narrow. | | | 10. 0. ‘Complete he hatin Draw the eyebrow and complet te eels and ips. ‘raw th math based on the guidine fom bation ‘nse toch. Postion the mouth an ower pas shove. 1. ‘ra thong bolaw tho ea anda the base ne of ‘ha neck022 Face (Diagonal) 4 Draw a fame toaratoof 3 Mark cision or gidetines Draw ity 9 guides as Draw 3 nore. (x4, e9, 35inx 409 asabove above (Bom x 12cm), ie ina Vertically and horortaly another unt at boom gt. Draw the outing of the head Draw the nose and ear by ‘Ada iene 25 above Peoiton tho mouth and lovee and neck. ding guidelines. Draw the to obian the positon of the lipas above Faeline bolow the ear. Inner eomer ofthe ojo. raw the lover eyaid asa cunw. pel M | fe | k 8, 10. 1 12, ai a Light draw the mouth an Draw the fow a hae running Complete the iting Draw the eyebrow and oor ine Establish the towards the back of he comple he eyelids and ips. hain by ating audoines. headEyes/Eyebrows Eyes The eyes can play an important rte in fashion design drawings. For example, their form greatly influences the medet's impression. Practice well so that you can portray model whaso expression is suitable for the design of the garment. ora 5 b > First draw a guideline joining the inner and outer comers, and draw the upper and lower eyelids as a curve. Continue by drawing the thickness of the eyelids, making the irises partially hidden behind them. Draw the upper eyelashes from the back of the eyelid, and the lower anes from the front edge. The eye consistsof an eyeball and eyelids. The thickness of the eyelid creates a shadow, You can draw eyes with a natural and gentle look by overlaying eyelashes on the shadow.Lesson 1 The Basics of Fashion Design Drawing | 025, Practice drawing various eyes so that you will have YP ‘a wide range of possibilities in order to more effectively depict them Eyebrows ‘The eyebrows are also portant as they determine the facial expression through their angle and thickness. The starting point in drawing them is above the inner commer ofthe eye. Be sure not to make the end too long026 Nose/Ears/Lips Nose In fashion design drawings, the nose is always simplified. Draw the minimum without {going into detail. Draw one side of the nose only, and not at the center of the face. Be Sure not to represent the nostril as a circle ee (be Oye fe a) Ears ‘The ears may be drawn in relation to earrings, spectacles or caps/tats, but similar to the nose, precise details are ot necessary. Remember to confirm their position and size, and not to forget to draw the earlobes,Lesson 1 The Basics of Fashion 0 Lips With their soft and changeable nature, the lips are the key element in expressing the emotion of the madel, despite their relatively small size in the drawing. Practice ‘drawing them in your favorite shape. SS 4G 6D The upper lips slightly wider and protrudes a litle. —|- thickness of the lips by drawing their outline asa curve. Then represent the dimple above the ‘upper lip by making the p's center protrude. Draw the lower lip. slightly ighter as it faces ‘upward alte and reflects light ‘ First establish the width and When the teeth show, be sure not to make them too obvious. Remember also that the face the ‘model is the minor part in fashion design drawings. Overdrawing it vill only hinder in communicating ‘he intended garment design.028 Hair Volume and Flow Hair eis ome: The hairstyle, together with make-up, isa very important element which determines ‘the image of the entire style. Pay special attention to its balance. ‘As a basic exercise, first practice with a tied back style in which the hairs flat on the head. Be sure to allow a little distance between the skull and hair. Draw the flow of hair in quick curving strokes from the hairline to the te, without bordering the face ‘and hairline. Draw in several synchronized lines for a natural look. Then gradually advance to various hairstyles by increasing the volume of the hair, but note that the distance between the skull and hair is not consistent.030 Hats/Caps Hats With many diferent origins and histories, hats come in various types and have many uses. They have as great an impact on fashion design as hairstyle and make-up. Hats usually consist ofthe crown which covers the head and the brim. First draw the Tim around the head, and then the outer circumference of the brim. Finally, combine ‘he crown and brim while paying attention to the top and underside of the brim. "8 @ tt 279 279Lesson The Basics of Fashion Des: Headgear with its dominant appearance comes in a wide range of styles, from a simple one to those which look different depending on their brim angles. Make it a habit to observe them carefully so that you understand the relation between the crown and brim,oe a Drawing Arms and Legs Arms/Hands Arms ‘The arms, serving as the core of sleeves, play a key role in accentuating the made’s pose, Being at the sides of the body, they relate tothe sideline and silhouette of the garment in fashion design drawings. Note that they should never interfere with good rendition of such garment design elements, no matter haw well the arms themselves are drawn. Focus on how they can compliment the sleeves and garment. sP The arm begins at the shoulder point (SP) with the elbow at the waist, the wrist at the crotch and the fingertip at about half way between the knee and hip. The upper arm is stralaht like a pipe exceot for the deltoid muscle at the shoulder. The lower arm outlines extend as slight curves, with the inner outline forming a narrow ‘S’ towards the thumb. x \When the arm is bent, the elbow joint forms an acute ange.Lesson 1 The Basics of Fashion Design Or Imagine the arm and hand always together. Practice drawing @ curve from the shoulder to the elbow and fingertip in one line, Unless to direct attention aa pocket, the hand on the hip should be postioned so that the base ofthe tngers mal ‘the body outline. Be sure not to draw it too far from the body.Hands The length of the hand is three quarters that of the head, and the palm is as long as, the middle finger. Observe the base and tips ofthe fingers, and you will see that they Spread like a fan. Draw a bent finger by separating it at each joint.Legs/Feet/Shoes Being nearly half the body height and supporting the entire body, the legs consist of dynamic elements, compared with the arms. Draw them using dynamic lines with this in mind, and it will help you grasp the image. Although they are often hidden under a garment, you should not neglect practicing to draw them as there are many garments designed to reveal the legs. Legs ‘The legs are tilted and do not fall straight down based on the joints. From the frontal ‘view, the outtine is similar to that of the arms, except that the dents at the inner and ‘outer sides of the knee differ in position, as do the bones at the ankle joint. When observed from the side, the core muscle lines clearly form an ‘S’ with a sharply curved end below the calf, a Feet The foot appears very different depending on the height of the heel, but we hardly draw bare feet in fashion design drawings. Even with sandals, the feet are not Completely revealed, and are drawn together with the sole. Master the drawing of feet in different heights of shoe heel. / (a ys / he WW) WwW YLesson 1 The Basies of Fashion Design Drawing 237 Shoes ‘Shoes are also one ofthe key elements in fashion. Fist grasp the form ofthe soles of various kinds of footwear, e.g. sandals to boots. SShB none Divide a sole in hatf vertically and draw the inner tine. Decide the height of the heel ‘or sole, and design of the instep. Using precise curves, produce lines as if fitting the "shoes tothe feet. Be sure to sketch real footwear atleast once. ced Ag tp a Ap Li a a S Haha siz Z A agedStudying Poses ‘ou can create poses by iting the bones. Inthe erect posture, the shoulder tits together with the vertebrae, Likewise, the pelvis tits as the weight is shifted to one leg “When the lett shoulder is ‘owered, the same left hip is raised” — ths isthe basic rule for various poses. When studying poses, imagine the letter 'H? on its side. AS shown in A below, the Pose with tited shoulder and hip, and weight shifted to one leg looks natural but note that over-titing will create excessive creases on the garment and a complex composition. Depending on the body movement, the shoulder and hip widt-lines can ‘be parallel as shown in B, but be sure not to use such a pose unless it looks natural.Lesson 1 The Basics of Fashion Desig The human frame is more or less symmetrical and its size remains the same in any bose. Poses with both feet on the ground have the same degree of tilting angle in the hips, knees and heels, {I The nude figure A below is in the erect pose, and figure Bis the pose with weight on ‘one leg, Figure A differs from B in its titing angle of the shoulder and hip. Figures C and D appear different again from A and B, but the shape of the torso is nearly the ‘same as B. With the same torso, you can create many poses while dressing different jarments, if you master the drawing of various flexible arm and leg movements 0 ¥Erect Pose Being symmetrical, the erect pose is the easiest one on which to dress a garment, You do not need to draw unnecessary creasé Practice drawing this basic pose by first caloulating the key positions using a ruler, and then complete with curved lines freehand, Repeat this freehand drawing until your hand ‘remembers’ the rhythm, [1.5 heads 4 _| teas Sheds ® | Alling space foray ve te centri into. 2. Draw the neck (1/2 head- wi), and and draw the headin a ratio of 2 (9 (Draw tne teight oan ftom each seo the head Draw tines; 1.5, 1 and 1.5 nead-widhs as above uielins by jining shoulder, wast, and i, Extend them Line 9 thraugh te casing point of te eat-in and Line & iL 3. Draw armines tom shoulder to fngertp postion obtained by extending be hpine ark ends of shoulders with cies (1/4 head length), Mark bust top (1 Neadlengt just. below Line 2 and crate just teow Line vane 28 aaa || Pena 4, Draw shoudetines fom the 1/2:neck height to top of ccs. Draw the inner legines as above Draw guidelines towards the center of Line 3 from center of the circles tthe head- width ines. Draw crotehlines fom the 1/2 pine points tothe eat, 6. Draw lines towards crotch rom under the bust o Line 3. Exon to Line 43s an ‘extension ofthe dtd line staring trom ‘he neok center Mark the wrist and toe postions (24 head-enathLesson 1 The Basics of Fashion Desig © In fashion design drawings, the nude figure is for dressing a garment, and no realistic rendition is necessary. Smooth out the joints and muscles and render them as clean lines. Note also thatthe nude figure does not remain constant. Adjust the widths of the shoulders, waist and hips according to the current fashion and balance of the garment. 7. Draw muscles adjoins by eiminating or adding 9, Be sro to saw 6 key tutu! qudlings for ures to guidelines. From thisstaye, daw retand. essing; 3 varteal ines consisting ofthe centerine, ‘raw ane a a narrow! rom SP tote unérarm 2 rdgelines ding te torsoint the front and ides, ‘a waist. Draw curved hplins separately to and horizon ines consisting ofthe bust, walt, esablh the vit poston mace easly. Draw the and ip wiet-Ines colarbones, breast and krees.Pose with Weight on One Leg ‘This pose is used often as it gives movement to fashion design drawings. As it is ‘symmetrical, you can show the line of the side of the body, and at the same time it ‘can easily reveal your fashion sense, Master the pose by repeated practice. any ra ale aad) aa ees z Sst it sat cen | : Er 1. Titsightly me shoul, wast, and hp witness shown above. Make the waist and ip idthines parallel ang slighty longer atthe higher ends Draw atne crossing the waist and hip ‘ict-ines a 90° fom te center point of ‘he shoulders tote crotch. Mark Me widths of the shoulders, was, and hip as above 2. Jon the shout, wat and hip on heeft side and extend the inet the center of Line to represent the ovterine of te pot lg, Give roundness tothe hip cutine 4, Draw guidelines paral tothe hip width- line rom the center of Lines @ and ‘5. Join the shoulder, waist hi, and knee on the right side. Extond theline to a point just above Line 9, while changing cirecton. Mark shoulder tis and knees with circles, Draw guidlines for he arms. 6, Draw the neck, shoulders, rms, ner ‘utine of logs and fect, as Wel a the stand under-bust inesLesson 1 The Basics of Fashio 7. Draw te body contours s cean lines. Mako the £8, Complete the daring by checking the srutural mecin ne sppeat 3D, by afusing't, considering the ‘Guidelines based onthe body angle. conor fo the colrbones to te crotchDiagonal Pose (Front Hip Higher) ‘There are two kinds of diagonal pose with weight on one leg. One is this pose with ‘the front hip higher. It is suitable for the design of garments with a wide hem. ey mae Pas (e et + bait + § 5 6 ® 1. Titty te shoulders, waist, andhips 2, Drawraline rom the center point ofthe shouders 3. Jon he shoulder, waist and hip on he as above. Make te wast and his widt- tothe waistwih-tne t 90% Eendit tothe right side and extend vercaly a. pivotal lines paral and slighty longer at the ‘oi a 90" tothe hip witsne. Mark the Jag lin to Line 9. Give roundness to tne Inger ens. wie of the shoulders, Walt and ips as apove. np out. a 3 2 4. Shorten the hp wet-inestthelover end 5. Mak he shoulter tips and knees with 6, Draw the neck shy ted, andthe by 16, Draw tele outine of the torso ‘cls. Drew quideines forthe arms. shoulders, ars, inet outine of thelegs Ivar om the should tp and extend nd fet, as well asthe ust and under- ita Line as above. Draw guidlines bust ines. pall othe hip wit-ineas above,Leseon 1 The Basics of Fashion Design Drawing 045 7. Oran the body contours 2s clean ines. Make the 1, Complete the drawing by checking the structural ‘median ne appear 30, by austin, considering the ‘uidelines based onthe body angle contour fam the clones tothe crotch048 Diagonal Pose (Back Hip Higher) Another diagonal pose with weight on one leg is this one with the back hip higher. It can be applied to various designs as it conveys movement easily. a 7 1, Tiltstightl the shouldrs, wast, and hips as above. Make the waist and hip wid lines paral and sight longer at the higher ends, t 2. Draw ine crossing the wast and hip wieh-nes a1 90° om the center point ofthe shoulders tothe otc, Shite shoulder by 115, and shorten the waste with-ne atthe highend by 1/8 as above 4 | ie 3. doin he soul, wat, and ion te ft 56 nd extn he neo the certo of Line $9 torepresent tho outerine ofthe pivotal ea Give undress to thehipoutine ~ y a 7 _ Wd / 4, Draw guidelines paral to the hip width= line ftom the center of Lines 6 and 8 5. Join the shoulder, wast, hip, and knee on the right se, Extend te ne to pont just above Line 9, wine changing direction Mark shoulder tips and knees wih circles. raw guidelines forthe arms 6. Draw the neck slighty itd, Establish the bust wit-ine, whi shiting toward ‘he back. Draw the mesan line and back brezstline to give a 30 ete.Pose Variations ‘With the same torso, you can creat082 > res: Silhouettes Dressing means to draw the lines of garments aver ‘the body’ which you learned in Lesson 1, while thoroughly understanding the garment's structure, Be aware that ‘while each line serves as an important element inthe final design, itis nat necessary for all of them to be realistic. The most important thing is to keep drawing until you: ‘achieve the design you desire. By drawing repeatedly, you can simulate and create your own designs.mited forms are conceivable if you are simply wrapping the body, in garment design, you can only hang fabric from the shoulders, hips a belt. When representing your ideas as a sketch, be sure sider which points the fabric is hanging from, and to avoid designs with ments which do not follow gravity or good mobility. In this way, you will your ideal silhouette. Lesson Uressing tecnnique puss056 Relation between Fabric and Body ‘There are spaces between the body and fabric, some are for mobility and others for style. Study which part of the body makes contact with the fabric and which does not, by looking at your own clothing and depicting them in line drawings. Pay extra, attention to the arms and legs, while not forgetting to consider gravity. IN> GOB058 Setting the Viewpoint Fashion design drawings will be more convincing if the model and garments are Portrayed with a certain three dimensional effect. The four models here are seen from various viewpoints. When thinking of the body as a tube, it is clear how important it is to draw the hems correctly.\When drawing horizontal lines such as the hem as opposed to vertical lines such as the body sideline, you have to consider its continuing line toward the back. Be sure to set the viewpoint in the right place, so that you can draw your design correctly. The standard viewpoint for fashion design drawings is at the height of the model's eyes ‘and two to three meters away. Lesson2 Dressing Technique | 959080 Darts/Gathers/Pleats/Drapes Darts, gathers, and pleats are used to increase or reduce the garment’s volume. ‘These must be considered for structural and functional reasons while making ‘sketches. The rules involve deciding precisely where and in which direction to add or reduce volume,HWA AU AW nh AO | as Y ame Y | Je .02 Fabric Characteristics/Creases While cranes create beautiful ines when stationary, lines created by movement are defined as creases. When the projecting points of a fabric are pulled away from each, other, vertical, horizontal, and diagonal creases can appear. All you have to do is to draw soft curves back and forth between these projecting points.Lesson 2 Dressing Technique 069 Draw creases starting from the inside of the body, while imagining the texture of the fabric to avoid spoiling the design form. Study the direction of the flow of the fabrio.ee Use of Various Lines By varying the thickness of lines, or creating different levels, you can dramatically increase the amount of information conveyed by your design drawing. Adding a little shading along the border line where the fabric is lifted results in a much softer Impression, ‘As shown above, the effects are obvious when adding levels to the side ofthe waistline.Lesson 2 Dressing Technique | 065 i Place importance on the details of your design. ‘The collar (top lett looks as if itis of folded paper, while the other ‘one (second from left) has a softer look. Only a slight difference Of line improves the drawing and can express the fabric thickness ean and even the way itis tailored. \ \086 Sketch Sketching an actual model within 10 minutes is a very effective way to improve Your ability to observe and grasp the bare essentials. As the purpose is to train your eye and develop your hand skill, precision is not necessary. Just concentrate on observing. First, draw the body in loose lines, and gradually advance to the details after grasping the image.lLesson2 Dressing Technique | 057 Once you have achieved what you want, after drawing and erasing unwanted lines, you will see that there are hardly any vertical or horizontal lines. Draw people around you whom you find attractive. This is highly recommended as you can try various poses and styles, unlike when drawing professional models.Lesson Coloring Techniqueors About Color First color, then shape and material. Not only in fashion but in all areas of design, color plays a vitally important roe. ‘An impression is derived more quickly and strongly from ‘color’ than from shape. For example when describing an apple in words, we do not give a detailed account of the apple's shape. Just as we might say a ‘red apple’, when we want {0 give an impression of something, the color is an essential element. We make drawings in order to explore a design oF to communicate it to others, so itis vital to select colors very carefully. Deciding from among the limitless color combinations imaginable is fun, but can also be a headache, and practice in blending them to create a color scheme will Certainly help to sharpen your color sense. Remember also that color is constantly advancing. We should always retain an interest in the information produced by international research and the interpretation of color. 'n order to precisely understand the color characteristics of a fabric, or to give instructions for printing, you will need to be aware of the ‘fundamentals of color, for example the three attributes of hue, brightness, and saturation, Hue - denotes the characteristic that distinguishes one color from another and allows division into red, orange, yellaw, green, blue, purple, ete. Brightness - denotes the amount of light and shade contained in a color and determines whether its ight or dark and so on. 0000000 Saturation - denotes the vividness and strenath of colors, from gray and muddy to vivid and pure Magenta, yellow, and cyan. These Magenta (M) + yellow (¥) = red (R) Color gradation can be further three can be used to make up all Yellow (¥) + cyan (C) = green (@) Controlled using white and black. other colors. However, they cannot Gyan (C) + magenta (M) = blue (B) be made by mixing colors and are therefore called primary colors. c G=C+yY -@ i e yen Magants Yalow M u white Back‘Mixing Color ‘Since a design drawing is essentially ‘a conceptual drawing of a garment’, the choice of colors should be driven by your instinctive feeling. The number of colors you need to use on a design drawing, in ‘other words, the conceptual drawing, is not very great. Likewise, the amount of color used and the ‘area of the drawing to be colored need be only very small. In that case, why not take time and effort ‘nselecting the right colors and creating on the palette the colors you have in mind. Deciding the color ‘and mixing it is more important than the act and method of applying it. Sometimes a color created accidentally on the palette will broaden your choices. Making color is not a matter of calculation but offeeing. But what is the color we use for design drawings? Naturally, itis the color of fabric. By mixing paints ‘we can make a whole range of colors, but beginners tend to paint with those close to the pure colors ‘that come straight out of the tube. Also, it you spend too long thinking about the next color, you end ‘up choosing it from one of the tubes, and the resuttis a set of rainbow colors. It is fine to enjoy color, "we may end up forgetting that the color ofthe fabric should be what matches the color ofthe skin. principe that when choosing color we should start by matching it tothe skin is an important point design drawing. adjusting color to match the color ofthe skin, there is a technique of adding a very little white or When for instance you have already decided on the fabric to use and you need a design drawing. ‘eproduces its color faithfully, this technique is highly recommended. Lesson Coloring Technique | 075a7 Drawings Using Various Tools/Materials You can use watercolors, markers, color pencils, and pastels for coloring, and pencils, color pencils, brush-pens, and drawing pens for drawing The ideal medium is watercolor, but combine others for a better result. Drawing paper Markers Color pencils Copy paner Pastels Color pencils Drawing paper Gouache (Opaque watercolors) Color pencils Drawing paper Markers \ Color pencils \ Yortomer marr Cote penisLesson3 Coloring Technique Drawing paper Sorina oper basing pee Maton Watercolors | Watters Markers re Color pencils Gieiencte Drawing paper Watercolors Pastels = Drawina paper Markers I Brush-pensore Solid and Blurred Painting ‘Among coloring methods, there is ‘solid painting’ in which color is applied evenly ‘over the entire area, and ‘blurred painting’ in which it is blurred in areas away from ‘he body. The blurred painting method is done withthe light source in mind as shown below. Apply the color of the garment lightly on the side near the light source as the actual color in the center, and lighter again on the opposite side, while adding subtle shading atthe end.Solid painting This method is effective when seeking a good contrast of shape and color, By accentuating lines or adding shading, you can create a three dimensional effect Lesson 3 Coloring Technique | 07? Blurred painting This method can enhance the fabric texture and add depth to a drawing. Itis less time consuming you color fewer areas using this method,Coloring Steps The following are the coloring steps. We use three types of tools. Gouache, markers, and color pencils. Do not try to color using a single stroke at first. Instead, use more strokes to improve the quality. Do not compromise when mixing color. ‘ te Acai, 2. Tranter sketch 4. Setdirettio ofthe 5, Apply hier one Filinreversasile = SL ight and appy| base cooc forthe hae. 1. Asketh on co wth peel and 5. As the ranstred tne sin color at eine trace out rom ope ‘Make the shadow the creases, front sae wth onc. side a ite dare. 9 ~~ ee = dish, and remove excess paint fam the brush, AS wateroolor looks ferent when dry, do a til run firstLesson Coloring Technique Complete detals pect, f Ki ‘Add shading to the Paint metalic parts scart with maker In gold or siver ) Create materia Review iho texture with color color scheme at pone avvessorie, Redraw eased ines, = Apply coor to accessories with pene ‘Add seams and sitehes, ec032 {D) Patterns ec Remember two key points when drawing patterns: One is that, as the fabric surface changes, the patter does also. As shown in illustrations 1, precise circle patterns appear as vertical ovals when the fabric is rolled or loosely folded. Another is that you should have paper patterns (illustration 2) of the garmentin mind. This shows paper pattems on a checked fabric for cutting, Note the “fabric grain’ indicated by the red lines, which represent the vertical reference line of each part. Confirm the direction of fabric with the correct fabric grain based on the center front (C.F.), and draw so that the patterns appear natural. ir CT GuNot good — The fabric grains have not been Good Patterns have been applied considered. While the stripes on correctly, by considering the the skirt may look correct, when fabric grains of the jacket sides, flattened, they appear unnatural sleeves, and the skirt034 Various Patterns Patterns are created by printing and weaving, and come in many styles. Some representative ones are essential for you to practice. Draw patterns in the same order as if printing, ie. from the bottom to top layer one by one, Markers and transparent watercolors are suitable for areas where colors overtap. PinStine ill Pen Stine hak Se Sle Sige Doble Tick Thi Shia Pin Dot tips kar Stipe ‘Thick Tin Snes utile Stes Sicker Stipe Hazon Stetina) i orn Stipe medium) III Hox Sps bl) TWk 8 Thin Hriara Snes ule Hrizartal Stipe Windowpane Tater Soe ‘Gram086 Bi Materials ‘ Material Rendition Remember to always think of ‘tine in association with the coloring’. This is the ‘key point regarding ‘material rendition involving coloring. We normally adjust this balance as we draw without real ing it, but tend to overdraw when we are not familiar with the garment materials, No improvement can be expected if you limit the types of line without any particular reason or always use the ‘same coloring method. Practice effective line rendition and coloring together, as the texture of the ‘material is an important factor in fashion design drawing. ‘As shown below, you can depict the thickness or softness of the fabric texture on the same design drawings by varying the detail. Ilustrations A and B on page 87 show these after coloring using the solid painting and blurred painting methods plus diagonal lines to represent the woven fabric texture. Study that the balance of “lines and coloring” has an immediate influence on the fabric texture, by practicing coloring, 5 A Thin and sharp effect B Slightly thicker and soft effect Do nt jin the tne, Do natin teins, i Do ntoin the lins,Lesson Coloring Technique | 087 A Soidpaintng lured panting Sold pining Blurred painting terre fenton tenure feton Bald aintng Bured panting Si painting Shure panting texture fenton tere ereton Blured painting + ‘ture renin an ine drawing B088 Ba Drawings of Various Materials Thin Materials/See-through Materials Render thin materials in a thin line witha light touch, imagining them swaying in the breeze, Render see-through materials, keeping the following in mind regarding the transparency and overiapping of colors. = % = i a a = Yellow Pink Orange ‘As the above method creates a too transparent glass-like effect, adjust the transparency to create a fabric look, E-o-8- Further, by adding contrasting density in overlapped areas and combining lines, you can distinguish the layers ‘and show their relationship, (Lines of the underlayer should be broken towards the end.) va . ma 1. Leave skin areas 4. Leave atessunder 6, Leave areas under edges of edge of fabric unpainted asin fabric unpante, ‘unpainted. and 4. 2, Diferentate| { 7. Soften the covered/uncovered : \ unpainted skirt skin colors, areas. ia iF. j ee Using waterproof acre and ii ‘marker, make the skin color i ‘ | vey sogsanmecimen Chorin ibe aes Apply base color, using 3, Erase ines under eae ae 5. Add watercolorto 8. Apply white tthe the fate, skin, bring the hem ace, ‘ute to show thinness of fabrcLesson3 Coloring Technique 08° 9. Adjust ha smake-vp osu ‘ate coors wth vatreoor 17 Ad pone ines paying to te layers. 13. Accentuate key places wit gray marker.= ey Cotton/Denim The key features of cotton include that it easily acquires creases, which are 9 difficult to remove, and thatits alternating creases form various triangles. As the seams of cotton garments are often finished with top-stitches, be sure to draw them in a dotted line or finer line. To draw denim jeans successfully, pay attention to the unique surface texture, q degree of faded indigo, and fine details 7 around the hips. Practice while taking time and care. eS > 1- Leave crease ridgelines unpainted ‘Apply skin color wth marker. Apply base color with watercolors. 2. Us 6 of cbr , o perl ea on vas! a om 3. Draw faded indign eaadraar Draw surface texture with Complete details with stitches wit color faded inigo-ook color pencils watercolors, markers, and pen pencils ata sight angleLesson 9 Coloring Technia Ria 4a stitches ina 5, Add sitohes| lighter green. ‘stongly on denim, RL 6. Add shading as flat triangles with ray marker, im fh 7 Gate ts at 8. Give dopth by shading to he sides with gray marke. } jj = Recraw outines, 10. Ade highights ceases and ‘to meal pais to ss with perc complete094. Autumn/Winter Materials [1] In general, garment materials for autumn and winter should be drawn with a soft image to give a sense of warmth. Use soft lines especialy for the outline and structural lines of woolen materials, while aiving consideration to their thickness. Color the base using the blurted painting method, and complete while paying extra care to rendition of the fabric to enhance te vividness of your drawing, 3. Add tweed nubs randomly with brown marker. 5. Adgheringoone with white watercolor using flatbrush : 1. Apply watercolors 2 Caretuly blur wth abroad edges with a Make the final tine drawing ‘ost stoke, Dus using water using a sot line wit black Direparddetais sand tae color pencil such as lines, pattems with color pci “4. Aad nis onthe | outine using brush tp with ivory ‘watercolor 6, Draw lace onthe calla wth white Feaercee ‘Completion ofthe base Adjustment and competion coloring of detailsLesson Coloring Technique g 7. easter with 8. Adjust nar and ‘wie color pen make-up. , } al 9. kaa ray s0 that 10. Apply shading the skin color fist with gray shows trough marke, ‘ashlee 11. Ad ster wit 12, Color buttons ‘white color pene wth brown, watercolor “14 : a ‘A 13. Color the 14. Add shading with corsage with ray marker. ivory watercolor Complete tines with black percAutumn/Winter Materials [2] In addition to wool, there is a wide range of fabric materials such as quilting. corduroy, boucle, gabardine, and velour for autumn and winter. Practice drawing their texture by adding an extra touch to the outlines or ‘surfaces to bring out their features. Val AND 1. Aopywateopor 4 brea, Love some areas unpaid fe nase ting look \ i 3, Reduoe he color tone with ae Completion of the base coloring 4. Leave cute alot unpainted fora Sy lok 2. Amagining the a pl fabric torture, adjust luring ey vith watorcolr Make the final ine drawing using ‘lack color pencil Draw tin keyines {or quiting stitches on te cape, 5. Color sunglasses and hai with ‘watercolor. — 6, Draw unevenness Adi the fabric texture, ‘ofthe quilting using dark brown ‘ol pene for the shadows,Lesson 3 Coloring Technique | O97 ~y \ 3 i 7.se tite pencil 8. Alternate wiite forthe it tea pencil and gray marker to represent ribs, e- ®& ir: 9. Blur color of scart 10, Use tp of brush Impatches with to draw the fizzy waiercolr, ond FP -Aed gaberdne twits 12. Add contrasting onthe outing sing ines withthe back ‘at brush with white pene used for watercolor. al nace, 14, Draw an indent where the siitohes meet the coutine. 16, Add shading with ‘ray marker to ive volume,Leather/Fur Leather and fur come in a considerable number of types when including artificial ‘ones. Roughly classified, leather consists of shiny and mat, and fur of those with long hair and short hair. As each has a unique appearance, it will be good training for you to draw them s 4 |. Apply the base 2. Apply solid eaorng watercolor tiny with watercolor to Wen half-dry, paint smaller areas, Le. atk coloroverit, leather. 2 + } 3, Leave quite a lot 4, Carefully blur the +t ? " % , Al oa 5. Layer colors: 6. Apply watercolor Render the features of leather ‘and fur atthe base coloring stage, 2 Atte fina line drawing stage, ‘raw the has of fur and soft jen creases of leather 7. Scrape white pastel and pick upona blending stump. 7 | » # 4 ‘8. Apply pastel to i ses ssa9 2. Go over the surface ith black pencil ce calor tone and draw hairs onthe shadow sto Ander the short feared boa with colored dts. > afew more fais with back penellon shacow 10. Using brush tp, paint hairs onthe Teather beneath ~ x 13, Ad shine with white watercolor on fidgelnes of w i 6, Blur the suede with nite pencil Oe 19, Redraw hd lies with black pencil 11. a stg diferent tone of fur color using brush, »~ yl on ight 17 Adjust ur = 20. Give fn touch toalllines pone vith100 Shiny Materials It draw shiny materials from the photographs of fashion magazines, you will find it very difficult as there are too many light sources. So when making a design drawing, set a more simple light source to minimize this problem. It also makes drawing easier if you classify materials by those with a single light source and those with an irregular reflection without a set light source, ‘When setting a light source, it is recommended to cast the light along the ‘ridgeline’ starting from the shoulder to the center of the knee through the top of the breast. | Atte tine drawing stage, nave in | int esto make si. 1. Bur color along 7 4, Ast oer the abe rapes coor of skit, by with waterolr. applying refietes coor a Q 2. Rameve coe 5 eave protung frmitaro th Ato bas coloring stage, sopra ares init wate ona tres, the areas or baring and nonpatig The lured pink aes are those " wth an equa retcton, and tne t mpi lv areas havea stot Aust te ot and flection 3, Baur otto 6 Tap pink ei ers, were randomiyon biured areas,7. Render regular light reectons as wnt dts. | 9, Rd sight larger white dots to areas with most reflection 17. Ad highs as shown in 9, 13. Adust nar ‘make-up wit color pencil and watercolor, i 15, Add highghts as shownin 14 8. Add darker pink to Increase contrast wth dots, 10. Add shadows below unpainted areas with gray 12, Render metalic luster. 14, A highignts ‘on accessories using white. \ 16. Complete by ‘adding shadows with gray marker Lesson 3 Coloring Technique | 107102 & Processing by Computer — Versatile Processing Based on the fashion design drawing, the garment will be developed into a commercial item. A good olor variation is essential as it could largely determine the success of its sales, even when the form and materials are the same. itis important to carry out sufficient color simulations before deciding on the final color selection. Mastering the process to produce color variations of the design drawing using the ‘computer, you will discover new potentials forthe garment, and also create smooth presentations. Here V introduce an example ofthe process using Photoshop with basic and minimum operation. Preparation: Scan your drawing by setting the output resolution to between 150dpi - 300dpi, and ‘rimming the desired part in the preview mode. 1. correction Using the Loves aig (1-2) {lmage’ > Aejsimens’ > Levels correct th sharpness ofthe seamed nage (1-1, so by moving the wo tangles = towarés the center while Observing the changes inthe imag window Select he i Layers’ (View! > Layers) and or@—#05 click ‘Duplicate Layer’ (1-4, Sinnateysiare ! Remember to save the * data at every stage. Ne Gorm. 1-2 Tho ‘Levels’ llog ‘ Move & i ight, and A to et 2. selecting a specific area _ i epeanT ae which you want change color. si Choose the Magic Wand tool 72, New Selon ‘om the Toos-palette (2-1), pe Ne=O=@= ‘and click the area where the Bal Ail = Until the tckring broken oo “ a Slee SEOSG= Gi by adjusting the Selection = subtract From Selection Subtract ‘modes of the Magic Wand tool; 2 22 Active flickering 2.3 Adjustment with Magic Wand Too! 25 Adjustment by ‘Add to selection’, "St t B : Beech ouea selection range Lasso tool from Selection’, ‘Tolerance’ and ‘Contiguous’, etc. 2-3) smn Complete selection (2-7), by adcing and deleting details, with the Lasso tool (2-5, 6) 1 You can undo each step by selecting ‘Edit’ > ‘Undo’ 24 Continue selection 26 Fine-uning by 27 Selection completed by changing clicking Lasso tol ‘successfully postions with Magic Wand tolLesson 3 Coloring T 3. Modifying colors ‘When the garment item is a ee ‘uted and selected perfect, 2 peas ‘copy it (EA > Copy’) and ae paste it back into the image =F window (Edit > Paste’. Serena Select the new Layer inthe AEE ra “Layers plete (3-1), Select the 'Hue/Saturaton dialog ae Stone (Image' > Adjustments > ce "Wue/Satuation’) (3-2), and ‘modi the color by moving the siemaias sliders; Hue, Saturation, and 3:1 When paste, Lightness (3-3, 3-4 itappears automaticaly 2s E anew layer aa 3-4 Only the color of selected item s changed 4. Creating variations oi . Pet ean garment tm : Select ne Backroun ayer - : ; inthe Layers plete nd - select coy, arp, Repeat bipest ayer inthe ‘Layers’ palette, and fh i is 2 axjstnent yee Saturation” (4-1, 2), and rad yal can fey proce eat ea simulations, enlarge the image Duplicate Layer : oyu en -f}—- | fm th imape Mer, and M you can make an effective é presentation layout (4-3), ah 42 Repeat the process on hat and pants, 43 Making fl use of the advantages of computer enables the simulation of various coorinations.Lesson Exercise by Garment Itemwa What is Technical Drawing? Fashion design drawing alone cannot communicate the precise specifications of ach garment item. A technical crawing of each item is essential in the process of ‘apparel production. It depicts the item’s structure in a simple line as ‘shown below and color may be applied as required. Technical drawing aims to communicate ‘the balance, structure, and specifications, and is usually accompanied by the back style of the garment. Fashion design drawing Technical drawingsLesson 4 Exercise by Garment tem 10 Lengths and Divisions Before drawing each garment item, confirm the names of the dividing lines on the upper wear and the length of the garment. Names such as ‘high waist, natural waist, and low waist’ often refer to the Positions of the joining and tapering of the top wear and waist position of the bottom wear. The ‘micro’ and those below are the names for lengths of the skirt and coat. When making technical drawings, be sure to carefully set such a length and not to be caught up with other details only. Be sure that these positions are in good balance with the entire body. Knee length = Under the knee108 Characteristics of Garment Item In addition to the balance of length and tine, structure and specifications, there is one more point that you must pay attention to when making technical drawings. It is to understand the characteristics of each item. The sleeve of the tailored jacket (illustration 1) is drawn in a very clean line and seems technically correct, but in fact itis wrong. When a sleeve is lifted this much, the armhole also lifts, creating many creases from the front button through the bust area (illustration 2). In order to present a tailored jacket in a simple and clean line while conveying its characteristics, ilustration 3 is sufficient. On the other hand, in the case of drawings of sports and work wear which allow more movement space for the sleeves, large creases will appear from the under arm.In some cases, both are not wrong (illustrations 4, 5, and 6), and you should select the drawing most suited for the purpose, ie. for depicting the characteristics of the garment. 4 esign concept ‘Select te et craving wi creases {or the presentation of sling, ‘andthe ight one for the sewing specication, Lesson 4 Exercise by Garment tern \Wetner you buton the lapel or nat largely determines the look ofthe cat. Select the ane osest to the 6 ‘These ook so iterent despite being the same desig. Use the let one ‘or the processing nstucbon or presertation of sting, and te Nat ooking rit one forthe inspection Jabel or sewing instruction,110 Master Template Various garment items can be drawn with a consistent scale by using a ‘standard proportion’ master template as shown on the left as an underiay. It will be helpful i you make it with a choice of different sleeve angles, e.g. large angle. allowing considerable movement (1), medium angle for raglan sleeve or sleeve with gusset (2), ‘ow angle allowing small movement (3), close to ‘he body (4), and close to the body for two-piece sleeves (shown with slightly curved lines\§).Lesson 4 Exercise by Garment Item | 111 each sleeve indicate the cuff slit. Draw the broken line representing the joint of two-piece sleeves as a gentle curve following the sleeve outline. Underlay for the back style, The lines at the end ofBa Technical Drawing Steps The following are the technical drawing steps when made by hand. Use a hard pencil, ruler, template, marker, and color pencil on copy paper. 1. Place apiece of copy 2, Drawthe centeine 3. Holdthe pencil ightly 4. Use a grid-ruer to paper on the master vith pene and sketch the outine check symmetry, template. ina clean ne. 6. Ink with fine drawing 7. Use arulerforstraght Erase pecltines en, Correct any lines, and template for ——complety. errs later. buttons. 9. Apply solid painting in. 10. Apply darker color 11. Bur the dark color by light fabric color with wit marker excopt ping oer te entice marker, at he edges, area wth the ont color marker used. for. 5. Complete postoning of pats and outines based on vealLesson 4 Exercise by Garment Item Completion of base (Completion of fabric texture coloring with marker rendition with coor pel 12, Aad ridgeline of 13. Ad shadows under the weave with gray the rased areas. color pei — 14, Add highights on 15, Paint out any unwanted the button with lines or areas with white watercolor or ‘hte watercolor Completion correction pe. carection pen.[By Technical Drawings by Computer Creating Parts When making technical drawings manually, itis rather dificult to maintain symmetry or to draw stitches, ‘You may also have to start all over again from the line drawing if a correction becomes necessary. Using the computer enables you to draw garment parts more quickly and precisely, and to make alterations and corrections very easily. Here | introduce such an example, using Adobe Illustrator. 1. Preparation ‘Scan traft ofthe technical ‘New Document), and then place the Scanned image (Fie! > Pac). Inthe Layers palette (Window > Layers) check he ‘Lock’ option of ie active layer (1-1), and ada ‘anew layer (1-2. Select the Pen tool inthe Toolbox (1-9), and set te ‘Stoke to red to differentate ‘om the draft in (1-4). 2. creating parts Using the Pen tol, craw each individual pat separately, starting ftom an underiyer in ‘the order af font hady, steve, under cola, top coli. pockets, and button (21), Draw te int side of jacket only. 3. Making symmetry Select all parts drawn as above, and do ‘Cony’ and ‘Paste’ (3-1). Display ‘Reflect’ (Object menu > Transform’ > flect) and sloct Vertical to reverse the parts (@-2). Move the reversed parts and place them ‘smmmetricaly onthe oer sie (G3) Select ‘Select A from ‘he fat’, and sett ‘Stoke’ fa black and Filo white 2-4). Select fine net draw daris and other fine tines, lik the fy ion onthe Layers palette tomake the draft invisible (8-5). Wile holding dow the Shift key, continuously select ‘he entire night font body and left collar vith the Selection tool Bick Aron) (3-6), and 0 Bring to Font (Object > “Axange’ > Bring to Fret) 7. =r 3.5 Make the dat ise @)ae 1-1Glik the ‘Lock’ option 12 New Layer 3.2 Select "Vertical fi £46 Select te right front body and left colar ony. 1.4 Stoke: re Fil: nane 2.1 Use a aitferent colored ine for each prt so that its really inentable 3.4 When moving more than ‘one, select ‘Group fam the Object menu. 37 Completion of symmety ater ‘Bring ‘FontLesson 4 Exercise by Garment Item 4. Atoration of parts Using the Pen too, set the dashed ine: 1 pt fr'cash! and 2 pt for gap" (41) nthe Stroke plete, and add stitches tothe edges ofthe colar, front closure and pockets (¢-2) il in each part with color. AS an easy alteration create a new layer for adtiona buttons Using the Rectangle too (3) and Pen oo, create a square- Shes ptt ar ccs ne lst 9 Shien adap 2st Copy and paste the collar, select values. A a tern psy ‘move with the Direct Selection too] (White Arrow) (8), and complet alteration ofthe collar «7, 45 Aadtonal buttons 44 Widen the lapel using ‘47 Youwil be abla ‘and altered pocket the Direct Selection to quickly check tool changes if you create pats on each ayer Converting Colors/Adding Patterns Using illustrator, you can change colors and add patterns very quickly. All you have to do to change colors is select the part and select a new color on ‘Fill’. Create patterns before hand and save them in the Swatches palette as stock. Using a computer enables clean renditions as shown below, and dramatically expands your design potential.116 Drawings of Various Items | Examples of technical line drawings are shown per separate garment item group for reference. Knitwear High-neck swoater Fib-knit cardigan with beltLesson 4 Exercise by Garment Item Cut & Sewn Sweatshirt Futtled skirt Cardigan Cache coeurBlouses/ShirtsSkirts eee es) nee engtvbarel Winvtip-tung Hf] | \ | \\ dl fer ore I | \ ‘Above-the-knee length/box pleated Mimolle length/gathered Mimollelengthlared Below-knee length/ tight with slit Mimollelength/goared Below-knee length ‘wraparound 1 Ankle engthipleatedPants Shorts Denim pants Slim pants Straight pants Lesson 4 Exercise by Garment Item Wide pants Cargo pants Peg-top pants | Flared pantsTailored JacketsLesson 4 Exercice by Garment Item Jackets/Blousons Cardigan jacket im blazer Pea coat Windbreaker Letter jacket Riders jacket Denim Jacketre ie ArtyDesign Fashion design drawing is the starting point of garment creation, and will give you (or clients or the general public) a solid idea of the quality of your ideas before they are c Contemporary Fashion ilustration Techniques ealed. provides a means for you to convey Images of your designs through either technical drawing or color illustrations, and covers the basics of fashion illustration in relation to the latest trends. You are given details about all the necessary techniques, textures, and patterns in an easy-to-understand language, Emphasizing the importance of vision, focus, commitment; motivation, and passion, the author cover all aspects of design giving you everything you need to be able to successfully bring your designs to life. NAOKI WATANABE Is a veleran of fashion design drawing who has taught for twenty years at Kuwazawa Design School, one of Japan's foremost fashion institutes. ISEN-19: 078-1-50 ISBN; 1592535569 0520) 24.95 CAN NINN i www rackpub.com