POCKETS TUCKS AND DARTS BUTTONHOLES Front Scoop Pocket Welt Pocket Welt pocket with Flap Ss CS Patch Pocket, with Bellows STRETCH BAND NECKLINES S_— am _ Crew Mock Turtle SHIRT COLLARS Flat Collar Rolled Collar y — Convertible | Drawings by Sumi Lee Pocket eee Fish-ye Dart ested SSSREED shit sutonnote cm ~| | dO Key Shirt Hole Buttonhole Bound Buttonhole Self and Release Tucks Pin Tucks SHIRT AND BLOUSE CUFFS D - Turtle locket Lapped ; & Note: The neck is narrower than the jaw. 3. Block in the features. Sketch the eyebrow line, eye shapes (one eye apart), bottom of nose, and mouth shape. 5. Add tone as needed. You do not have to put strong shadows on a female face (can be aging). Step-by-Step Front View Fashion Heads Even if you work primarily with tracing in the begin- ning, you will want to understand the facial propor- tions and keep them in mind as you work. It is easy for drawings to become distorted if the basic struc- ture and feature placement is not recognized. chapter 4 ‘Note: These same proportions for feature placement apply to the male fashion face as well. Of course, proportions will vary slightly from face to face, and you will be making adjustments even for faces that look perfect in the photo. The most common mis- take is to drop the mouth too low, so pay careful attention to that placement.Head Tipped Slightly Up Fashion illustrators tend to like the upturned head be- cause it conveys a sense of glamour and drama. It also can be very tricky to pull off, especially the more extreme angles. Straight Three-Quarter Head Facial Planes and Perspective Checklist 1. The eyes are looking in the same direction. 2. The ball of the nose is indicated 3. The features are in perspective. Rounded Female Forehead “ft Lo Zygomatic Arch Cheekbone: Cheek: Chin y Note: The rather complex contours of the three-quarter face, This diagram shows the planes of the three-quarter faces. Note how the eye- ball sets in the socket and is encircled ‘The eyebrows sit on an arc. The cheekbones curve toward the corners of the mouth. On a three-quarter by the eyelid view, we see the neck The dotted lines indicate the perspec- emerge from behind the tive issues that come with turning the ear, which attaches at an head. All the features must sit on these angle to the head, imaginary lines.Female Profiles ragay test? ihity Less | than 1/2 E032 ~ helen of the throat (A to B). B 1. Sketch head shape and neck. Divide as shown, This is the key angle for profiles. The features must trop back or the face will have “lantern jaw.” z j 3. This diagram emphasizes the strong curves between the fea- tures of a female face. If the y spaces are more angular, the face becomes more masculine. Don't be afraid SEMI-PROFILE to stylize! It will Note that this view is not a pure profile, You can recognize make your work this when the second eye is in view. The shaded area is the 7 unique. plane that would not be seen in a true profile. Also note that the very full upper lip is even with the nose. Profiles, Step by Step ae 2. Sketch features, using propor- tion guidelines. Note angles of ‘eye, nose to chin, and eat. Structure sos |Head Tilted Down Checklist ay 2 3. Contours titt down with the angle of the head, Features are placed on these contours, Less neck is seen because head is lowered More top of head is seen, Ears are placed higher on the head. chapter 4 These alternative angles tend to be more challenging. in order to draw them correctly, you must pay attention both to the contour changes and the feature foreshortening However, the use of such angles can make your work more visually exciting, and you Can fee! good about mastering a new draw- ing ski This angle is close to a pro- file, but stil showing a bit of the right piane. Note that when you draw the face from one of these angles, you first draw the structure of the cheekbone-to-jaw area, then the fea tures sit behind.