Become a Professional Fashion Designer
By Ethel H. Traphagen, Instructor and Lecturer at Cooper Union, etc. ix+145 pages. 8 by 10 . Upwards of 200 Illustrations, including several in Color, and a Color Spectrum Chart. Cloth, 2.50 net. Student's Manual of Fashion Drawing. Thirty Lessons with Conventional CHARTa. By Edith Young. Director of the Edith Young Art School, Newark, N. J. Formerly Art Director of the Albert Studio of Fashion Drawing, Albert Business College, Newark, N. J., and Instructor of Fashion Drawing at the Young Women's Christian Association, Newark, N. J. vii-J-107 pages. 8 by 1030 full-page reproductions of original drawings. 'Cloth, 2.00 net.
For some the term illustration is synonymous with the work of fashion illustrators, despite it losing much ground to photography since its height of popularity in the 1930s. Fashion illustration has moved gradually away from documenting the work of fashion designers for magazines, although sketched images have remained the starting point for many fashion designers as they visualise on paper the structure and fabrics for the garments that they are designing. For the illustrator not trained as a fashion designer who wants to work in this field, it is wise to undertake the discipline with a clear understanding of who to approach for commissions, as opportunities may be less visibly flagged than other areas of the discipline.
A novice fashion designer will have a little difficulty in arranging the various elements of finishing in a harmonious whole. Normally the tendency is to simplify the item of clothing, reducing it to something simple and basic or to exaggerate the dimensions and the details, thinking that the more complicated an item of clothing is the better the final result will be. Nothing could be further from the truth, Fashion plates are the primary means of visualising ideas and concepts in costume and fashion design. To give an accurate impression of what is in a designer's mind it is vital to have complete mastery of the rules of figure drawing. Here, realism and anatomical precision are the chief values, whereas for costume and fashion, stylization and exaggeration are ways of adding individuality and verve to a plate, and of focusing attention on specific elements.
For a student who is training for the profession of fashion design, the representation of the head is probably the most complex artistic subject-matter. The body has no other anatomical part as diversified in its form, size, proportions and expression. Therefore an in-depth analytical study is necessary, accompanied by systematic exercises to acquire the necessary ability to reproduce the head by rote. The overall structure of the head is similar to an egg, whose upper part consists of the cranium and whose lower part consists of the face and the jaws. The drawings below show three highly simplified representations of the head and each has been divided into four sections by drawing in the horizontal axis AB and the vertical axis CD.
Costume design is a very interesting subject and is an art in itself. If one can draw fashions correctly, he can learn to create them. One great thing to be considered in costume designing is proper proportions. Have all proportions interesting. Do not divide up spaces into mechanical divisions. The student may best decide which branch of Fashion Drawing he wishes to pur ue. If it is Costume Design, he should use every effort to perfect .himself in that direction. If it is Costume. Illustration, study every detail that applies to this line. He must study the work of successful artists in both branches and try for style. There are many ways of illustrating costumes, try for something clever, as it is the clever thing that counts. Lesson XXX suggests other ways to put in practice what has been learned from this book.
In this instance it is also advisable to acquire the necessary ability to portray any movement of which the upper body is capable, even if subsequently only those poses most suitable to the needs of the fashion designer are used. For an exact reproduction either of the parts of the body portrayed or of the rotations and counter-rotations of which the body is capable, it is highly important to establish the rhythmic structure straight away, along with the broad outline of the upper body and the pelvis. We shall emphasize one line in order to stress the internal rhythm and use finer lines to envisage the rotations and counter-rotations.
In a face the eyes are certainly the most truthful reflection of a state of mind. It is not by chance that the first contact with another person is indeed determined by the eyes. Among the various features of the face they are certainly the most important. It is inconceivable to draw fashion designs without portraying the eyes, as one would be depriving oneself of the soul.
When you portray a human body it is necessary to remember that you are depicting something that is alive, and in the specific case of fashion design, it is fundamental to observe closely the typical movements which characterize the poses adopted by the models. They are movements which are supple, trim and nimble. The fashion model walks in a way that is absolutely unique, turns and swings her hips in a wonderful way, stops and poses in ways which defy gravity.
It is opportune m this respect to keep a file of poses used by professional fashion designers this will be extremely useful for copy-practice and for examples of interpretation. wooden and dull. Artistic techniques that are too illustrative are of no use in the planning stage, even if they are pleasing in the execution. Remember that you are fashion designers and not illustrators, therefore your task is to conceive of the collection in considerable detail and as quickly as possible. Often a fashion designer when he is setting out thinks that he has to Commit to memory so many positions that he can use for his projects, and this creates in some people a real crisis of memory. To simplify the initial work we
It is very important for the student to understand something about perspective in order to be able to plane chairs, tables, etc., in his drawings rugs and squares on floors must be drawn according to rule. A few simple rules are here given to aid the student in the perspective needed -n fashion drawing. Study these rules carefully and apply them when copying pictures.
My work is quite clearly non-photographic and lacks a certain Adobe Illustrator look that was popular in fashion illustration for a while. I think this human, rough, and original touch can be appealing. SP - I've somehow found myself in a special niche of fashion illustration that I think sometimes is forgotten. Since fashion illustration became 'in vogue' again a lot of companies and publications nol dealing in fashion directly have started to want some of that fashion look to rub olf on them. This is what I've done to a large extent a lot of fashionable-looking work, only a small part of which is directly related to the fashion industry. Instead, I've worked for everyone from Volvo to French aperitifs Maybe this extended use of fashion illustration also adds to the feeling that fashion illustration is everywhere.
We anticipate that skeletal strokes would have considerable impact on many drawing applications in fashion design where stylish bold strokes are often used in interior design where pseudo-3D strokes representing furniture and architectural objects can be laid out with ease in dynamic clip-arts which can deform dramatically beyond the limits of stretching, shrinking, shearing, twisting and bending. If implemented in windowing system kernels or page description languages like PostScript, the skeletal stroke deformation algorithm would extend the systems to permit expressive strokes to be specified in more or less the same way as the constant thickness strokes currently are, think about windows with borders in stylish strokes. In the case of PostScript, it would be something like
It's hard to say too much about the eye when it comes to the nose, people lose interest a little more quickly. In fact, this lack of excitement over the nose is carried to an extreme in fashion illustration. It's not unusual for fashion illustrators to omit the nose entirely, leaving the more fashionable mouth and eyes to carry on without it. Even when included, the fashion nose is often little more than a flick of the brush.
Occasionally art directors cut against the tide of photographic imagery to offer illustrators the opportunity to create fresher, more personal interpretations of the season s trends and ranges. This type of fashion story commission usually comes from the fashion monthlies. It's mainly the more upmarket magazines as well as men's titles that tend to opt for this approach. The more avant-garde and independent the title, the more they are expected to be directional in their approach in fact it is this type of fashion illustration that is considered to lead the entire discipline stylistically. Outside of the fashion and 'style' press, the recent rise in the recognition of fashion illustration can be attributed to a number of independent clothing labels, as well as bigger brands with an understanding of marketing to youth audiences. Illustration and Textile Designs Freelance textile designers endure a particularly subservient role in the fashion industry. Designs are often sold for very...
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