Illustrating Fashion, 2nd Edition

illustrating fashion Kathryn McKelvey and Janine Munslow 2ND EDITION SCHOOL OF DESIGN NORTHUMBRIA UNIVERSITY © 2007 by...

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illustrating fashion Kathryn McKelvey and Janine Munslow 2ND EDITION SCHOOL OF DESIGN NORTHUMBRIA UNIVERSITY

© 2007 by Blackwell Publishing Ltd © 1997 by Blackwell Science Ltd, a Blackwell Publishing company Editorial offices: Blackwell Publishing Ltd, 9600 Garsington Road, Oxford OX4 2DQ, UK Tel: +44 (0) 1865 776868 Blackwell Publishing Professional, 2121 State Avenue, Ames, Iowa 50014-8300, USA Tel: +1 515 292 0140 Blackwell Publishing Asia Pty Ltd, 550 Swanston Street, Carlton, Victoria 3053, Australia Tel: +61 (0)3 8359 1011 The right of the Author to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. First edition published 1997 by Blackwell Science Ltd Second edition published 2007 by Blackwell Publishing Ltd ISBN: 978-1-405-13952-6 Library of Congress Cataloging-in-Publication Data McKelvey, Kathryn. Illustrating fashion / Kathryn McKelvey and Janine Munslow. -- 2nd ed. p. cm. Includes bibliographical references and index. ISBN-13: 978-1-4051-3952-6 (pbk. : alk. paper) ISBN-10: 1-4051-3952-8 (pbk. : alk. paper) 1. Fashion drawing. 2. Fashion drawing--Computer-aided design. I. Munslow, Janine. II. Title. TT509.M384 2007 741.6’72--dc22

2006036898

A catalogue record for this title is available from the British Library Typeset by Kathryn McKelvey and Janine Munslow Printed and bound in Singapore by Fabulous Printers Pte Ltd The publisher’s policy is to use permanent paper from mills that operate a sustainable forestry policy, and which has been manufactured from pulp processed using acid-free and elementary chlorine-free practices. Furthermore, the publisher ensures that the text paper and cover board used have met acceptable environmental accreditation standards. For further information on Blackwell Publishing, visit our website: www.blackwellpublishing.com

CONTENTS ACKNOWLEDGEMENTS

vi

INTRODUCTION

1

HISTORICAL PERSPECTIVE

4

1910-1919 1920-1929 1930-1939 1940-1949 1950-1959 1960-1969 1970-1979 1980-1989 1990-1999 2000-2009

6 7 8 9 10 11 12 13 14 15

DRAWING FROM LIFE

16

Figure Construction Heads Drawing Clothes Balance Drawing Exercises Gallery Proportion Poses Drawing Heads Proportion - Heads, Hands and Feet Drawing Hands Drawing Feet Footwear

17 21 25 27 28 30 34 40 52 58 59 63 66

MEDIA TECHNIQUES

71

Introduction Hand Drawing Vector Drawing Image Editing Presentation - Layout and Typography Gallery

71 72 80 92 110 117

iii

CONTENTS FABRIC REPRESENTATION

142

Introduction Prints Depth and Shine Highlights and Pleats Textured Fabrics Drape and Transparency Knitwear 6SHFLӾF)DEULFV Volume and Gathers Wool and Faux Fur Folds and Fringing Denim Lace and Embroidery Gallery

142 143 146 147 148 150 151 153 154 156 157 158 160

SKETCHBOOKS

162

Ideas and Concepts Shop and Show Reports Design Development

162 166 174

FASHION ILLUSTRATION

180

Introduction Composition Cropping Viewpoint Graphic Application Promotional Drawing Illustrating Garments and Detail

180 181 184 185 186 188 196

DRAWING FOR MANUFACTURE

204

Introduction Drawings from the Dress Stand Developing the Template Designing using a Template Developing a Stencil Where to use Working Drawings Gallery

204 205 207 212 213 214 216

iv

CONTENTS ACCESSORIES

234

Introduction Drawing Accessories Gallery

234 235 242

CONCLUSION

261

AND FINALLY

262

BIBLIOGRAPHY

264

INDEX

265

v

ACKNOWLEDGEMENTS We would like to thank our publisher, Richard Miles, for giving us the opportunity to produce this Second Edition of Illustrating Fashion. Also, the staff in the School of Design at Northumbria University for their consistent support throughout this project.

On a personal note I would like to thank my husband, Ian, as always for his patience and support. Also Emily, Lucy and Jack for not destroying my computer!

Adobe for their excellent software!

On a personal note I would like to offer my sincere thanks to Leon Maurice and Howard Fenwick for their additional technical expertise. Last but not least I need to thank the patience of my mother, Hilda Hunt, husband, Neil, and sons, Benjamin and Laurie.

We would also like to thank the professional contributors whose talent is a constant inspiration, International Design Exchange (IN.D.EX), Milou Ket Styling and Design, Michelle Alexander, Naomi Austin, Emily Bell, Coralie Bennett, Emma Brown, Irene Burley, Hayley Burr, Poppy Cartwright, Laura Chu, Liz Clements, Amy Clover, Christina Davenport, James Dennehy, Laura Dover, Victoria Hare, Laura Hart, Christopher Hodge, David Hodgson, Alys Jones, Julia King, James Lawrence, Lisa Lewins, Lynda Llewellyn, Carrie MacDougall, Luke William Miller, May Van Milligan, Laura Mitchell, Zoe Noble, Robyn Offord, Fiona Raeside, Emma Reynolds, Chloe Riddle, Brett Roddis, Helen Ryvar, Alan Scott, Michael Sullivan and Fallon Wood. These individuals have all kindly given us written permission to use their illustrations; copyright of course remains with them. Most of the above may be contacted by emailing [email protected] or [email protected]

vi

Kathryn McKelvey

Janine Munslow

INTRODUCTION This is the second edition of Illustrating Fashion. A lot has happened since the first edition was published in 1997. Digital illustration now plays an increasingly fundamental part of the illustration process. The accessibility of computer hardware, with laptops and domestically marketed desktop machines, and software regularly being upgraded and made more useable, means that anyone may access/use these tools to develop their own drawing or manipulation style. These tools have not only been used to produce this edition, but they are also included in the form of tutorials and hints and tips throughout the book to help beginners get started. They are not exclusively used, initial drawing and the addition of hand skills to a printed piece, play an important part in the process. The book is also published in full colour for the first time. Colour is essential to the illustration process and visual and written hints about its use are also included. But first an explanation about fashion illustration. Fashion illustration is a form of stylised drawing; it seeks to communicate not only an artistic representation, but a sense of style. Illustrators need to be draughtsmen, able to draw in a variety of ways with a strong awareness of the vagaries of fashion. These skills must then be applied to the commercial world where visual communication is essential in the process of developing and selling ideas. The techniques in this book will help to foster the necessary skills and provide the background knowledge of their applications within the fashion industry. This book is intended to be used by anyone wishing to study fashion illustration or design. An ability or some experience of drawing is always an advantage but it is in no way imperative. Part of the book will help with the development of basic drawing skills through drawing exercises, media techniques, fabric representation and drawing for manufacture. There are a series of men’s, women’s and children’s poses and other assets such as heads, hands and feet, shoes and boots, available for beginners. The rest of the book provides an introduction to and application of contemporary fashion illustration. Illustration plays a significant part in the manufacturing and marketing of fashion clothing and accessories. The fashion business operates through a network of organisations, each having its own function. Many different companies may deal with one garment before it eventually finds its home in the customer’s wardrobe. At each stage the companies involved need to categorise the product visually and describe it, either as part of the production or the marketing process. This creates a need for different types of drawing and for special illustrative skills. The illustrator’s traditional work of portraying fashionable styles in magazines and newspapers was superseded by photography during the second half of the 20th century. Illustration became more hidden from public view but it is still used extensively in the commercial development of a garment or product and in terms of promotional and graphically oriented illustration is now widely accessible on the Internet. The information contained in this book reflects on the role of illustration in the fashion industry today, and will help to understand the work of the illustrator by providing an introduction to: the recent history of fashion illustration, drawing and media techniques, fabric representation, developing and communicating visual concepts, illustrating and promoting new styles and drawing for manufacture - by creating ‘blueprints’ and specifications. Computer programs allow the illustrator to create accurate technical drawings which in turn may be ‘flood filled’ with any pattern, texture or colour, saving the most time consuming work of ‘colouring up’ the same design in different colourways and fabrications. Many designers now use computer programs to illustrate their collections, scanning in their original art work and then applying colourways, fabrication, text and typography to present ideas. Promotional illustration may be manipulated and ‘layered’ in Adobe Photoshop and Illustrator to create complex but interesting effects, impossible to reproduce by hand.

01

INTRODUCTION Towards the back of the book is a ‘visual checklist’ of the illustration process; this very briefly lays out the relationships between types of illustration and where detailed explanations may be found in the body of the book. As mentioned earlier, the book is in full colour. The colours chosen for each study, in the instructional parts of the book, are dictated by the contrast required for communicating a point, or by colours deemed fashionable at the time. The Gallery contributions were generally inspired by colour palettes/stories relevant to the market and fashion at a particular point in time. Colour mixing requires some experimentation but there should be enough examples of combinations within to inspire the designer. There are an infinite combination of colours, often working in tonal ranges; think, for example, midnight darks, sun drenched jewels, dusky dawns, smoky pastels, misty pales, nuclear brights. Then think about mixing small amounts of each as accents dependent upon the dictates of fashion. In the Bibliography a range of magazines and books are suggested. Two of these magazines are Textile View and Textile Report; seasonal colour intelligence may be derived from these magazines. The Bibliography suggests useful and inspiring books: it is not a definitive list. It is arranged with magazines first, so that up-to-date fashion information can always be available to the designer/illustrator. Books are second, but these are a mix of graphic, popular culture and fashion books in an effort to gain an understanding of visual design disciplines. Finally, the Index should allow the familiar user to find elements easily. It may be that the book needs to be read first before some of the terms used may be understood.

02

INTRODUCTION HOW TO USE THIS BOOK If you have drawing experience: Even if you have abundant drawing experience it is still most valuable to experiment with media and drawing exercises - see Drawing from Life - Drawing Exercises and Media Techniques. Some people will have disproportionate skills: an excellent draughtsman perhaps, but without a developed sense of fashion awareness - see Fashion Illustration and Sketchbooks, or may have little experience with software tools - see Media Techniques. If you have little drawing experience: Don’t despair! It is quite possible to become a competent illustrator, particularly if you have fashion awareness, the perceptive skills needed to draw well are the same as required to judge proportion, balance, colour, etc. See Historical Perspective, Drawing from Life - Drawing Exercises, Media Techniques and Fabric Representation. Beginning to illustrate: NB: This information assumes the bulk of the design/collection has been completed using working drawings in your sketch book and that you are trying to promote and present the designs. If you have not started designing refer to Sketchbooks - Design Development, Fashion Illustration and Drawing for Manufacture for help in putting your initial ideas down on paper. 1. Decide what you are trying to achieve. Look at the section on Fashion Illustration or Drawing for Manufacture to choose the correct method of presenting your work. What is the market? What does the ‘look’ consist of? Refer to Historical Perspective, Media Techniques and Fashion Illustration for help in defining a style if you are having problems ‘seeing’ your designs presented. 2. Draw figures lightly in pencil; reference should be made to the poses offered or to your own life class. Choose a model that is close to the ‘look’ you require and is posed in a way that would help to suggest the market level. For example, if you are designing a young, womenswear collection that is very fashionable, then choose a young model with the right appearance of ‘attitude’ and liveliness. Go to Drawing from Life - see the various sections on poses and heads, hands and feet. 3. Sketch the designs onto the figures, with accessories to complete the total look, using a lightbox - refer to the Accessories section for ideas. 4. Refer to Media Techniques to decide what effect, or combination of effects you are going to use to illustrate your designs. For example, if you are illustrating a collection using predominantly white fabrics, then perhaps you should consider using a technique where the background is dark and white media are applied to it, or ‘invert’ a scanned black line drawing in Adobe Photoshop. 5. Refer to Fabric Representation to render the fabrics used in designing. 6. Go to the Drawing for Manufacture section to render any working drawings as part of your presentation. 7. If a promotional illustration, of a particular garment, is required then refer to Fashion Illustration Composition, Drawing for Promotion and Illustrating Garments and Detail and back to Sketchbooks for reference to any ‘thematic’ information that may be useful for the presentation.

03

01 HISTORICAL PERSPECTIVE 1910-2009

The following chapter is a brief history of fashion illustration from before the First World War to the beginning of the new millennium. The exercise is very much simplified for the purposes of investigating line and proportion. Opposite is a list of general points about the development of fashion illustration. It is hoped that a feeling for each decade will be provided by being as broad in approach as possible. Nevertheless, trends do not always fit tidily into decades but may be transitional.

04


• 1910s - Fashion illustrations were inspired by Art Nouveau (natural, curving forms reflecting the decorative art of the time) and exotic influences such as the ‘Oriental’ influence derived from the theatre, Tyrolean influences and the Ballet Russe. The illustrations were quite realistic in treatment and proportion. • 1920s - The drawing style became more simplified, angular and linear, in keeping with the silhouette. The figure was exaggerated to look longer and leaner. The illustrations had a two-dimensional quality. Compositions were influenced by the modern art movement. Drawings were slick and glossy reflecting an interest in glamour. • 1930s - Fashion returned to a curved, more feminine silhouette. The actual drawing line became softer, curvier and textural. Drawings were expertly executed in what was the start of the golden age of fashion illustration. Proportion returned to a more realistic interpretation. Illustrative styles were influenced by art movements like Surrealism. • 1940s - Fashion illustration was very much a continuation of what emerged in the 1930s. The early part of the decade was an age of brilliant draughtsmanship and illustration reached its zenith. After the Second World War illustration became more romantic in expression. • 1950s - Fashion illustration continued to be of a high standard. Illustrators met challenges in representing the new synthetic fabric developments. Illustrations were highly stylized reflecting the aspirations of consumers desperate for glamour. • 1960s - The style of fashion illustration from the 1950s continued into the early 1960s but was ultimately usurped by a more modern look. Poses altered, indicating a new freedom for women. The fashion model had a new, younger look, because of the emergence of the ‘teenager’ in the late fifties. The typical pose changed from demure to more dynamic and dramatic, with a witty optimism expressing hedonism. Photography became very fashionable and illustration declined in popularity. Photographers became celebrities in their own right. • 1970s - Fashion illustration became marginalised as photography continued to be fashionable. Initially the style of illustration was influenced by decorative art styles developing in the 1960s, such as Pop Art and Psychedelia. The latter half of the 1970s saw highly finished realism emerging. • 1980s - The fashion industry expanded from the progression of the 1960s and market forces demanded more forward thinking information. This could not be provided by photography so a new role for illustration followed. Magazines reverted to featuring small amounts of fashion illustration. Illustrators’ work was innovative and experimental. • 1990s - Fashion illustration had an important communicative role within the fashion industry but remained generally unpopular within press and editorial at this time. Photography still remained popular and information technology extended its possibilities. The beginnings of a new trend in the usage of computer technology, to create illustrations, began to take off towards the end of the decade! • 2000s - Growing interest in the Internet spawned many sites using ‘Vector’ illustration, a style much mimicked by illustrators. there were ‘backlashes’ using hand skills and then combinations of both approaches using hand and digital tools.

05


06


07

01 HISTORICAL PERSPECTIVE

1930-1939

08


09


10


11

01 HISTORICAL PERSPECTIVE

1970-1979

12


13


14


15

02 DRAWING FROM LIFE

Figure Construction

• Drawing from the life model, courtesy of Naomi Austin

16

02 DRAWING FROM LIFE Figure Construction

Perception and Observation How we see an object is determined by what we are looking for. A garment will be viewed very differently by a designer, or photographer, or wearer. Illustration is a process of selection, what is chosen to be drawn and what is not. Every person holds a unique perspective of reality. A successful or pleasing illustration selects only what is necessary to create a drawing that reflects a particular fashion statement. Key elements are exaggerated; unnecessary items are rejected. A representational drawing of a figure accurately records line, form, detail and proportion. Fashion illustration by its nature selects and rejects information, stylising the image. When drawing the figure, looking at form is important. Many drawings are preconceived ideas of what exists, rather than what is really there. Learning to ‘see’ is a fundamental part of drawing. Observational skills and the ability to record visual information accurately can be developed by continued practice. It may be easier when beginning to analyse figures to regard them as a series of blocks and cylinders and to disregard distracting detail, such as folds and creases, facial features, etc. Build the figure first in masses, and then within each of these masses form the varying planes which represent the body. Drawing The quality of the line needed to suggest a gesture, movement or pose is important. The line created is linked to the movement of the artist’s shoulder, elbow, wrist and fingers through to pencil crayon or brush. Variations of movement can change the line from a sweep to a spidery crawl. All artists have their own individual ‘handwriting’. Drawings which leave the viewer’s mind to ‘finish’ have an appealing freshness and vigour. Overworked drawings can appear flat and uninteresting. Much of what makes a good illustration relates to what is left out rather than included. Many artists rough sketches are better, fresher and more immediate than a more ‘finished’ work. Rough sketches can be less self-conscious, more simple and direct. Knowing when a drawing is ‘finished’ is subjective and only learned from experience. Drawing and observing the human form is a large subject and can only be explored in a restricted manner in this book. It is important to stress that there is no real substitute for drawing from life and the experience that this intense type of study brings. Drawing and looking often will help to build up a store of visual knowledge enabling you to create illustrations from memory. Keep a sketchbook, draw friends or people in the street, standing and in motion. Swimming pools, dance classes etc. are ideal locations, or draw yourself in a full length mirror. See the section Sketchbooks. Stop and reconsider your drawing frequently.

17


Figure Construction

Figure construction Figures can be defined in terms of masses and planes. It can be easier to think of the body in terms of boxes and cylinders, from the head to the fingers.

• The hip tilts down on the leg that is not carrying the body weight.

18

02 DRAWING FROM LIFE Figure Construction

• In adults the legs form at

• When arms are relaxed the fingertips reach halfway down the thigh.

least half the total height.

• The torso twists from side to side and up and down, but is restricted in its backward movements.

19


Figure Construction

• The pelvis tilts forwards and backwards, up and down in a vertical motion and from side to side.

20

02 DRAWING FROM LIFE Heads

Heads An egg or square shape can be used as a basic shape to construct a head.

• Lines are then added to define the position of the eyes, nose and mouth.

• These can be rotated or tilted to represent the planes of a face looking up or down and to left or right.

21


Heads

• Three-quarter view, the plane of the eyes and nose simplified

• The plane of the forehead turns sharply at the temples.

• The cheek bones form the central mass of the face on which sits the nose. • The head can be divided into three masses: those of the cranium, the facial bones and the jaw. cranium

facial bones

jaw

22

02 DRAWING FROM LIFE Heads

• Profiles are sometimes easier to draw than full face poses because symmetry does not have to be considered.

• Note the relationship between hairline, eyes and features.

• The eyes are set approximately one eye-width apart. • The upper lip of the mouth more often appears in shade as it curves inward towards the teeth.

23


Heads

• In profile a head sits neatly inside a square. The lower cranium runs almost level with the line of the cheekbone.

• The ears are aligned with the eyes between the eyebrow and the base of the nose and are vertically in line with the back of the jaw.

• The features are usually smaller than expected, a hand can cover the face easily. see Proportion

• The pupil of the eye is always partly covered by the upper eyelid.

• The nose is a made of a series of wedges with a ball at the base and wings either side.

24

02 DRAWING FROM LIFE Drawing Clothes

• To draw clothes convincingly you must be aware of the body within; garments are cut or draped on the body. Many of the folds created by movement and tension are predictable. Obviously the type of fabric used will display its own intrinsic behaviour. See Fabric Representation.

• The knee, thigh and elbow produce most tension and resulting creases. Where the torso twists and bends tension and folding is also evident; this is often what gives the pose dynamism. Another way of suggesting the figure is to use the pattern or texture of the garment and its resulting distortions. Stripes, for example, are very useful for expressing the hidden form.

• Fabrics that are stiff, such as denim, create deep creases and impressions where the limbs flex.

25


Drawing Clothes

• Creases are created, particularly in tailored garments, where tension occurs due to movement.

26

02 DRAWING FROM LIFE Balance

• In order for figures to appear balanced and the poses true to life, it is important to understand the centre of balance and how the weight of the body is usually distributed on one or both legs. • The balance runs through the neck and generally to the leg on which the weight is placed. In most relaxed standing positions the head remains above the foot which is supporting the weight.

27


Drawing Exercises

DRAWING EXERCISES Experiment with line quality i.e. drawing lines fast and slow - sensitivity. Communicate information using line only - no symbols e.g. joy, fear, excitement, anger. Large scale - draw life size and even larger! Small scale - draw two inches high and smaller! Self portrait, set a time limit of half an hour. Interchange media e.g. ink, pastels, coloured pencils. Line drawing - use line only. Tone only - don’t use line. Negative space - draw the silhouette only, look around the subject. Draw from many perspectives foreshorten. Draw from below and look up, draw from above and look down. Draw without using an eraser. Direct observation - trace the line of the subject by looking at it and not the paper. Deliberately use line thickness to indicate distance or perspective. Draw with the non-preferred hand. Draw without taking the media off the page. Analyse and draw ‘apparent’ shapes only. Draw using geometric shapes only.

28

02 DRAWING FROM LIFE Drawing Exercises

Draw using colour blocking. Trace a reasonable drawing with rapidograph and light box - altering as required. Use colour to create depth - stronger colour at the front, paler colour receding - try collage as well as other media. Look at the subject then turn away and record what you saw. Copy two dimensional images upside down - so that the image looks unfamiliar. If a slide projector is available use it to superimpose images/patterns on models or even project an image on a wall and trace as large scale. Style models/friends in different mixes of clothing and draw them. Do a partial drawing and move on to someone else’s (if working with others). Ask for permission to draw children at school in a variety of activities - gestural drawing! Emulate artists and the media that they have used - try something similar but try to achieve quicker results. Observe the figure - static and posed, in movement (in dance/keep fit classes, swimming pools or on the street), shopping, in cafes or restaurants. Observe and draw the figure in very short poses - one minute. Draw objects in museums and galleries. Draw the figure from foot to head not head to foot!

29


Drawing Exercises - Gallery

• Drawing exercises by Christopher Hodge. The focus was on drawing with the traditional pencil. Detail was drawn in after the drawings were planned.

30

02 DRAWING FROM LIFE Drawing Exercises - Gallery

• Drawing exercises by Christopher Hodge. The focus was on drawing portraits and drawing from different angles.

31


Drawing Exercises - Gallery

• Drawing exercises by Christopher Hodge. The focus was on drawing negative space - the space left by the silhouette - and drawing with the non-preferred hand. The middle figure is drawn with the left hand, the right with the preferred hand.

32

02 DRAWING FROM LIFE Drawing Exercises - Gallery

• Drawing exercises by Christopher Hodge. The focus was on drawing detail and garment construction.

33


Proportion

The linear subdivisions of objects and shapes (buildings, a facade, garment or painting, etc.) can ‘feel’ either right or wrong. A sense of proportion is inherent in the experience of perception. What seems right or wrong, unbalanced or in harmony will change in accordance with historical and cultural perspectives, for example, the proportional differences between womenswear illustrations before the First World War and after. See Historical Perspective. Since proportion deals with relativity there must be a unit of measurement; this is usually the head. It is useful when discussing the length of figures in fashion drawing to relate to the proportion in these terms. Ordinarily adult figures range between seven to eight heads in length. Illustrators have elongated this from eight to more than fifteen heads according to the dictates of time and fashion. Figures that are overly exaggerated tend to have extra length in the legs. Occasionally different body areas are exaggerated or reduced in order to promote current trends. Neo-Classical fashion plates, for example show hands and feet proportionately smaller than is realistic. In contrast, illustrations from the late 1980s show over-exaggerated feet. The waist, in the adult figure, is generally positioned at approximately 2 ½ heads and can vary due to fashion trends. Refer to Figures A, B and C. Children’s proportions are not elongated because this would change the apparent age of the child. Their proportion is naturally exaggerated within the body length, for example babies’ heads are large in comparison to their body (3 ½ to 4 heads in length) and they would have to be drawn as an apparent exaggeration. Their features are generally enhanced. Refer to Figure D. Colour and contrast can affect the perceived proportion of a drawing; this can be used dramatically in illustration.

34

02 DRAWING FROM LIFE Proportion - Natural

Figure • A

1

2

waist

hips

3

4

5

knee

6

7

8 • Natural Proportions

35


Proportion - Elongated Figures Figure • B

• Comparison of proportionately elongated figures

36

02 DRAWING FROM LIFE Proportion - Elongated Figures Figure • C

• Comparison of proportionately elongated figures

37


Proportion - Comparison Figure • D

3-9 months 4 heads

10-12 months 4 heads



2 ½-4 years 4-4 ½ heads

5-6 years 4 ½ heads

newborn 0-3 months 3 ½-4 heads

• These two pages show a comparison of the proportion of children as compared to an adult male and female. The ages of the children are given, as are their proportionate measurements using the ‘head’ as the unit of measurement.

38

02 DRAWING FROM LIFE Proportion - Comparison

7-9 years 5 heads


12-14 years 6 heads

adult female 7 ½ heads

adult male 7 ½ heads

• Children’s proportions are not elongated because this would change their apparent age. Their proportion is naturally exaggerated within the body length, for example babies’ heads are large in comparison to their bodies (3 ½ to 4 heads in length).

39


Poses - Women

• The following pages contain women’s, men’s and children’s poses intended as a starting point for your work.

40

02 DRAWING FROM LIFE Poses - Women

41


Poses - Women

42

02 DRAWING FROM LIFE Men’s Poses

43


Poses - Men

44

02 DRAWING FROM LIFE Poses - Men

45


Children’s Poses

newborn 0-3 months 3 1/2-4 heads

3-9 months 4 heads newborn 0-3 months 3 1/2-4 heads

9-12 months 4 heads

3-9 months 4 heads

46

02 DRAWING FROM LIFE Poses - Children


18-24 months 4 heads 12-18 months 4 heads

2-2 ½ years 4 heads

47


Poses - Children

2-2 ½ years 4 heads 3-4 years 4 ½ heads


48



6-8 years 5 heads

6-8 years 5 heads

49


Poses - Children


12-14 years 6 heads

12-14 years 6 heads

50


12-14 years 6 heads 9-11 years 5 ½ heads

12-14 years 6 heads

51


Drawing Heads

Figure • 1

Figure • 2

Figure • 3

Figure • 4 CONSTRUCTING A WOMAN’S FACE

52

Figures • 1 and 5 Choose a photograph or attend a life class. Draw an egg shape/oval after observing the subject complete with neck - look at the angle of the neck. Divide the oval into two halves. Look at the nose and mouth and draw a line from top to bottom of the oval that will be the centre of the nose and mouth position. This depends on the angle of the face and direction in which it is pointing -Figure • 5 - three quarter view. Dissect the other line equally on either side with half the width of an eye, then indicate the eye positions on the line. Observe the bottom half of the oval and halve it again from side to side - this will indicate the base of the nose. Roughly divide, in two, the bottom quarter for the mouth. Check all construction lines with reference to the subject. Figures • 2 and 6 Lightly draw in the line of the hair using all of the previous construction lines as a guide.

Figures • 3 and 7 Start to draw the details of the eyes in the positions previously indicated. Draw in the details of the mouth.

Figure • 5

Figure • 6

Figure • 7

Figure • 8 THREE-QUARTER VIEW MAN’S FACE

Figure • 6 - Draw in the shape of the sunglasses using the previous guidelines for the eyes and the top position of the ear for the sunglasses leg. Figure • 7 - Add any details, such as the hair. Refine the shaping of the jaw, referring to the subject, add any shadows or highlights. Add the reflective light in the sunglasses. Figures • 4 and 8 Add the flesh tone to the faces, adding colour to the eyes if the head illustration is large enough, add colour to the lips also to define them. Colour may be added to the hair as a ‘block ‘with shiny highlights as Figure • 8 or as a series of lines, highlights and colours to add shape as in Figure • 4. Erase all pencil guidelines after rendering the drawing in the required medium.

02 DRAWING FROM LIFE Drawing Heads

Figure • 1

Figure • 1 Choose a photograph or draw children at play. Draw an oval and neck shape with reference to the subject. This is a profile of the head and is broader in appearance than a frontal view of the head. Divide the oval in two with reference to the top of the ear, allow this to direct the line.

Figure • 2

Using the principles laid out in the previous three exercises, it is possible to plot the placing of any hat on the head in any circumstance.

Figure • 4

Divide the bottom half of the oval in two with a line that runs parallel to the first. Divide the upper section of this half with another parallel line. Figure • 2 Plot the position of the eye. Mark the angle of the brim of the hat with reference to the other guidelines.

Figure • 3

Figure • 4 CHILD’S PROFILE WITH HAT

Figures • 4, 5, and 6 How far down is the hat pulled onto the head? How snugly does it fit the head shape?

Figure • 5

The broken lines indicate the centre of the face, the ear or the positioning of the eyes.

Figure • 3 Draw the shape of the hat and the hairline. Draw in the eye and cheek, nose, mouth and ear. Render the hair and the hat . Erase all pencil guidelines. Figure • 4 Colour may be added in the required medium/ media adding detail to the hat band.

The red lines are guides in plotting key positions of the face and head, the unbroken lines indicate the top of the head and the position of the base of the chin.

Figure • 6

Any guideline may be used as long as its position is judged against any other before detailed work is begun.

HAT POSITIONS

53


Drawing Heads - Gallery

54

02 DRAWING FROM LIFE Drawing Heads - Gallery

55


Drawing Heads - Gallery

56

02 DRAWING FROM LIFE Drawing Heads - Gallery

57


Proportion - Heads, Hands and Feet ¼

Baby

½

¼

Child - 3 years old

½

¼

Woman

½

¼

Man

½ • The head is the unit of measurement and is compared, in size, to hands, feet and footwear.

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02 DRAWING FROM LIFE Drawing Hands

PROPORTION

1/2

The length of the hand and wrist is two thirds of a forearm.

1/2

Index and middle fingers are about the same length. Each finger has three segments and the thumb two. The combined length of the last two bones of the fingers is equal to the first. If you find hands difficult to draw, observe the rules about proportion and then try the two exercises below.

Figure • 1

Figure • 1 - Observe the posed hand and translate what you see into shapes or planes. Colour is used here to try and convey a feeling of shadow and highlighting, with more shadow in the curled up fingers. Although quite primitive it can help to understand the curving of the hand. Figure • 2 - Look at the shape the posed hand makes in space and draw the silhouette only - negative space. This will help to gain understanding of quick ‘gestural’ hand shapes until confidence has been gained.

Figure • 2

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Drawing Hands - Women

60

02 DRAWING FROM LIFE Drawing Hands - Men

61


Drawing Hands and Feet - Babies and Children

62

02 DRAWING FROM LIFE Drawing Feet

NB: Please note these are two right feet, not a pair! Figure • 2

Figure • 1

PROPORTION The sole of the foot, not including toes, is equal to the size of the head in adults. The big toe is approximately one quarter of the whole foot. The body’s weight rests on the ball of the heel and outside edge of the foot. If you find feet difficult to draw, observe the rules about proportion and then try the two exercises below. Figure • 1 - observe the posed foot and translate what you see into shapes and planes. Figure • 2 - look at the shape the posed foot makes in space and draw the silhouette only.

63


Drawing Feet - Women

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02 DRAWING FROM LIFE Men’s Feet

65


Women’s Boots and Shoes

66

02 DRAWING FROM LIFE Women’s Boots and Shoes

67


Footwear - Men

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02 DRAWING FROM LIFE Footwear - Children

69


Footwear - Children

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03 MEDIA TECHNIQUES Introduction

The choice of a technique in an illustration depends upon the final use of the illustration. If it is to promote an idea, as an advertisement, then a feeling for fashionable imagery and graphics is necessary. If fashionable imagery is slick and precise at the time, then your illustration should emulate that feeling or mood as well as promote the original idea (e.g. vector illustration). There are a variety of markets also and this may influence illustrative style, for example, surfing graphics often have a distressed approach. In contrast, if there is a feeling towards a natural, hand-made look, then again your illustrations should encapsulate that feeling. There are ‘fashions’ in fashion illustration as well as any other changing product. It is important to be observant of the world around you to understand any new feelings or changes that might occur and keep your drawings ‘up to date’. The illustration may be to promote your own personal style and help develop your own design ideas for a portfolio. This follows much the same line as previously, but also needs clarity for informing other people about your work. Consequently fabric representation may play an important part, in which case it is important to choose the right technique. See next section on Fabric Representation. Hand drawing should not be underestimated. Hand skills will always be of value for quickly producing ideas. Hand skills can also speedily create effects that the computer will struggle with. Over the next few pages the initial illustrations are hand rendered but may be completed by hand or by computer. Since the first edition of this book the computer has become another tool that may be used to execute illustrations. In this chapter, some attempt has been made to show useful techniques, or explanations of how a software tool may work. A new tool included in Adobe Illustrator CS2 includes ‘Live Tracing’ which supercedes the ageing (but still useful) Adobe Streamline mentioned in the Media Techniques chapter. Within the confines of this book, it is not possible to be extremely explicit about how to use software tools, but excellent specialist books on each piece of software are available. These tutorials are guides to the process of producing an illustration (well, my process) and are intended to allow the illustrator to quickly become immersed in production. See the Bibliography for a range of helpful and reasonably priced software book titles. A novice computer user should try out the tutorial on Vector Drawing first, as this deals with the general setting up of a digital illustration. There is also a section called Presentation - Layout and Typography, the function of this is to give some initial ideas on how to use the page to present information, some typographic work is included to try and communicate the mood of the content. Some indication of the production of the visuals is included to inspire different ideas and approaches. They are very much a mix of hand and digital media to maintain hand generated textures, experiment with layout and communicate with colour. At the very end of this chapter there is a gallery of illustration work from a mix of fashion designers, fashion illustrators, graphic designers and illustrators all contemporary in outlook.

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03 MEDIA TECHNIQUES Hand Drawing - Line

Figure • 1

Figure • 2

Figure • 3

Figure • 4

• Figure 1 - pencil. • Figure 2 - three coloured pencils. • Figure 3 - ballpoint pen. • Figure 4 - coloured pencil.

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03 MEDIA TECHNIQUES Hand Drawing - Line

Figure • 5

Figure • 1 shows the use of pencil, in a variety of weights from 6B to B. These weights are good for sketching and shading. A rubbing - frottage - is taken from a wooden print block and is used as a background. Figure • 2 shows three pencils - warm red, yellow and blue being used together to create a range of colours when mixed in different amounts and layered. This is the formal way of using coloured pencils. The right hand side of the drawing shows the direction of the light source throughout the examples. Figure • 3 shows black ballpoint pen. It allows for very sketchy drawings. Here the example has planning lines and rough cross-hatching and hatching. This is a good medium for jotting ideas down rapidly.

Figure • 6

Figure • 4 shows water soluble coloured pencils in a wide range of colours. When the drawing is coloured a fine mist of water may be sprayed on top and allowed to run slightly displacing the coloured pencil and softening the line. The background is a naive, repetitive print which happens to be from the inside of an envelope. Figure • 5 shows a fineliner of one weight - 0.5 point. Colour is applied flat with markers or by using Adobe Photoshop to flood fill the scanned drawing (see later in this chapter). The pattern is drawn and scanned, layers and the rubber stamp tool are used with a transparency of 50% to create the very simple pattern. Figure • 6 shows a brush and ink line. Occasionally the brush moisture is removed to achieve a ‘dry brush’ effect (background flowers). The T-shirt and jeans are filled, in Photoshop, with a 50% ‘dissolve’ effect giving a subtle texture.

• Figure 5 - fineliner and layers. • Figure 6 - brush, ink and flat colour.

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03 MEDIA TECHNIQUES Hand Drawing - Resist Techniques Resist media such as masking fluid, wax crayon (coloured and clear) and oil pastel (usually white) allow the illustrator to create ‘open lines’ in their work which then may have watercolour or ink applied. This can leave pleasing brush strokes and textures around the resist areas.

Figure • 1

Figure • 1 is illustrated using brush and ink to create the line drawing. Masking fluid is used to resist the ink on the T-shirt. The background is kitchen roll with ink stains adding texture. Figure • 2 shows the use of wax crayon as a resistor of the watercolour in the background, hair and on the trousers. Wax is layered onto the T-shirt and then scratched away leaving a soft texture and pattern - sgraffitto. Figure • 3 illustrates the use of oil pastels. They may be used as a resistor of watercolour like the wax crayon and are also perfect for sgraffitto work as on the T-shirt. They are very vivid and rich in Figure • 3 colour. It is also possible to manipulate and paint with them using turpentine.

Figure • 2

Figure • 4 shows the use of watercolour and masking fluid, the fluid brush strokes are obvious on the trousers. The background is ‘inverted’ in Photoshop using the Apple I or Ctrl I command this makes the open lines black and all other colours their opposite in the spectrum. Figure • 5 is illustrated using masking fluid to create the line. Watercolour is applied and dried, a further layer of masking fluid is applied to the trousers and painted over again. Figure • 6 is worked as Figure 5 with masking fluid, opaque acrylic is applied on graph paper and a fine red line drawing used to pick up the detail.

• Figure 1 - ink and masking fluid. • Figure 2 - wax crayon, sgraffitto and water colour.

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03 MEDIA TECHNIQUES Hand Drawing - Resist Techniques

Figure • 3

Figure • 5

Figure • 4

Figure • 6

• Oil pastel is used in Figure 3. • Watercolour and masking fluid are used in Figures 4 and 5. • Masking fluid and acrylic are used in Figure 6.

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03 MEDIA TECHNIQUES

Hand Drawing - Print Effects and Textures Figure • 1

Figure • 2

Figure • 3

Figure • 4

• Figure 1 - brush and ink line with stamp printing. • Figure 2 - the inverse of Figure 1. • Figure 3 monoprint with block colour. • Figure 4 - stencil on rough whitewash with spray painted wings.

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03 MEDIA TECHNIQUES

Hand Drawing - Print Effects and Textures Figure • 5

Figure • 1 illustrates the use of Figure a brush• 2 and ink line drawing embellished with the use of a ‘stamp’ print block in the shape of a rose. The rose was then coloured and repeated as a background in Photoshop. Stamps may be bought in any art or hobby shop. Figure • 2 shows the inverse of Figure 1 and is manipulated in Photoshop - see previous spread Figure 4. This technique is useful when illustrating black garments, the white line shows the detail. Figure • 3 is a ‘one-off’ print technique called ‘monoprint’. This is achieved by rolling out block printing ink on a glass or perspex surface, placing a sheet of paper on top of the ink and drawing on the paper back. The resultant line on the other side is very difficult to achieve in any other way. The print may be scanned and coloured, added in blocks, in Photoshop, as here.

Figure • 6

Figure • 4 is a simple stencil created from Figure the line drawing used in Figure 1. Be • 4 careful to keep ‘bridges’ where necessary to prevent detail from falling away. Use a sharp scalpel or knife and cutting mat to cut the shapes. Here the stencil is applied to a roughly white washed surface and sprayed with red enamel paint (spray in a well ventilated area or spray booth). Figure • 5 is drawn with ‘Tippex’ correction paper. It is then scanned and inverted in Photoshop, with colour roughly added. The line has a very distinct quality. Figure • 6 is illustrated on a rough whitewash of acrylic applied to hardboard. The type is applied to the wet acrylic using a number and letter stamp set. A line drawing is applied then is scanned into Photoshop. A repeat pattern of butterfly ‘stickers’ is applied with a transparency of 50% using the Pattern Stamp tool.

• Figure 5 - ‘Tippex’ paper line drawing inverted and coloured in Photoshop. • Figure 6 - whitewash with rough line drawing scanned and flood-fill printed in Photoshop.

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03 MEDIA TECHNIQUES Hand Drawing - Montage

Figure • 1 This is a line drawing executed in Adobe Illustrator giving a transparent effect to the body of the drawing. This is then montaged together with some very old ‘telex’ paper which has a pleasing type quality and coloured edge. The montage also includes torn envelope interiors which are designed to prevent their contents being seen but show interesting repeat corporate designs and patterns.

Figure • 1

Figure • 2 This fineline drawing is embellished with stickers, which may be bought in any art or hobby shop. The stickers form the hair, T-shirt and tattoo. The drawing is laid on a background created from print stamps randomly placed. The colour theme was based around the stamp inks which were pinks and blues. Figure • 3 is an illustration created by using blue ‘carbon’ paper for the line, which gives a very soft effect. Foreign postage stamps were enlarged so as to be unreadable and used as the background and montaged into the clothing. Figure • 3 You could try the ‘transfer’ print effect using acetone to release the printed surface of newspapers and magazines, these are then rubbed onto the line drawing. Figure • 4 shows the stencil drawing applied to a wall, with graffiti applied in the background. This can be created at www. graffiticreator.net. Figure • 5 is created on a sewing machine using a variety of coloured threads applied to calico. Figure • 6 shows the line drawing as a ‘fax’, this is montaged onto a whitewashed hardboard surface in front of a paper wreath and behind a scroll with type applied using ‘letter stamps’. The poppies and pansies are stickers applied to the surface.

• Figure 1 - office stationery and line drawing. • Figure 2 - stickers and stamps.

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Figure • 2

03 MEDIA TECHNIQUES Hand Drawing - Montage

Figure • 3

Figure • 5

Figure • 4

Figure • 6

• Figure 3 Carbon paper, foreign postage stamps. • Figure 4 Wall stencil, graffiti. • Figure 5 Calico, coloured threads, stitching. • Figure 6 Fax, whitewash, stickers, scroll, stamps, wreath.

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03 MEDIA TECHNIQUES Vector Drawing

• The tool used here is the Pen tool, which allows the creation of curved and straight lines. To achieve a convincing drawing requires some skill, but is well worth the effort of mastering the tool. This example is created by making a template of a hand drawing and tracing over it.

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Figure • 1

1 • Open Adobe Illustrator. Go to File>New and choose a size for your illustration in the drop down menu in ‘Artboard Setup’. You could name your document at this stage. 2 • Go to File>Place to import the visual that you wish to trace over (Figure • 1). Select the file then tick the ‘Template’ box, this will import the file as a ‘lighter’ version to enable easier tracing. 3 • Make a new layer by choosing New Layer from the drop down menu on the right, if there isn’t one already there - Layer 1. (If the Layer palette isn’t visible go to Window>Layers and click on the label.) Click on the dialogue box to OK the choice and name the layer if you wish. Keep the layer selected. It is a good habit to create new layers for each set of elements, so that you can lock them and avoid losing work (Figure • 2).

Click here to see the Layer menu

Click on the small window to Lock layer when complete

Figure • 2 4 • You now need to select the Stroke palette and your Stroke colour. Adobe Illustrator works with ‘Strokes’ (lines/outlines) and ‘Fills’ (solid blocks of colour). You can use both of these together or each separately. To make the Stroke selection (line only) go to the Tools palette, Window>Tools if it is not visible (Figure • 3) click on the Apply None box, to deselect the top swatch box, which is the Fill, a red stroke appears, which means there is a ‘Fill’ of ‘None’ - no colour. Click on the black, double-ended arrow to swap the boxes around and make the Fill subservient. Then select a colour from the Swatches palette - if it isn’t visible go to Window>Swatches, see more about choosing colour in the next tutorial - Vector Drawing - Fill.

Swap Fill and Stroke

Apply None

Figure • 3

81


5 • Go to the Tool palette and click on the Pen Tool (Figure • 1). Click at the end of the tab to tear it off and drag it closer to your work (Figure • 2). Figure • 2

Figure • 1

6 • Click on the Pen, on the left of the tab, and draw over the template. Clicking periodically gives lines with anchor points. Clicking and dragging produces anchors with handles/direction lines that allow you to smooth the curve (Figure • 3). The anchor may be used when editing the line. The other Pen tools - ‘+’ - allow you to add anchor points, the ‘-’ - to remove anchor points (Figure • 2).

Figure • 3

Figure • 4

• Figure • 4 shows a Stroke of 4pt in width; clicking on the drop down menu allows you to choose a point size/line width, or write one in the ‘Weight’ field. The tiny white circles highlighted in the red rectangle are anchor points. Note the direction handles on the last anchor point. Dragging on these with the Direct Selection tool would allow a change of curve. Selection and Direct Selection Tool

• Important tools, requiring regular use, are the Selection tools and Direct Selection tools. The Selection tool selects a whole object, which may be dragged/copied/moved about the page. The Direct Selection tool selects parts of objects to allow for editing. You may need to use them to ‘deselect’ an edited element before moving to the next edit.

82


Figure • 1

Figure • 2

Figure • 1 shows the use of the Direct Selection tool; clicking and dragging on an anchor point can change the shape of the Stroke. The arrow keys on the keyboard can help to make incremental movement shifts. Figure • 2 shows the Selection tool; this would allow for all of the selected stroke to be moved or copied. Figure • 4 Figure • 3 shows the Stroke palette and a series of 4pt strokes above it. By selecting one of the small boxes on the right you can shape the end of the stroke. By clicking into the Dashed Line box and entering point sizes in the dash/ gap fields you can create a ‘dashed line’. Figure • 4 shows the Pen tool in ‘Add’ anchor mode, clicking on the Stroke will add another editable anchor point. Figure • 5 shows the reverse - the ‘Minus’ straightens the bump in Figure • 5 the Stroke when the anchor point is removed. Figure • 6 shows the Scissors tool on the Tool palette used to cut into the Stroke, at two anchor points. Clicking with the Selection tool on the section between the points and pressing delete will remove the highlighted blue section.

Figure • 6

Figure • 7 shows the Layers palette. Clicking on the Template icon, below the eye in Layer 1, can toggle visibility of the Template. Figure • 3

Figure • 7

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Figure • 1

Figure • 2

Figure • 3

Figure • 4

• It is possible to change the style of a Stroke by using the Brushes palette. NB: Avoid using too many anchor points in illustrations, as this may result in printing problems.

84


Figure • 1 opposite page, shows the figure using a variety of Stroke widths. The Stroke colour is also changed by selecting each of the relevant lines by using either Selection tool and ‘Shift Clicking’ (holding down the Shift key and clicking onto each stroke allowing you to select multiple strokes); the hair is selected in Figure • 5, then brown is chosen from the Swatches palette. The colour selection is reflected at the bottom of the Tools palette, see the red arrows. Figure • 5

Figure • 6

Figure • 2, opposite page, shows the illustration with brushstrokes. The Strokes are selected as Figure • 5 and then a ‘Brush’ effect is applied from the Brushes palette. At the base of the Brushes palette are shortcuts to (from left) Remove Brush Stroke (reverts to a simple stroke), Options of Selected Objects (allows you to edit the chosen brush, see below Figure • 7 ) or you can double click on the chosen brush in the Brushes palette to edit it, New Brush (allows you to create a new brush, see Figure • 8 - choose from the four styles shown), and Delete Brush (allows you to delete a selected brush from the palette).

Figure • 7

Figure • 8

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To create your own brush, select the drawn element you wish to convert, here Figure • 1 the tattoo on the arm is selected using the Selection tool and Shift Clicking all of the relevant elements (the Apple key - Mac or Control - Windows key plus the - and + keys will allow you to zoom into and out of the work to see in greater detail). Once selected click on the New Brush icon at the bottom of the palette, outlined in red, and select the type of brush - Calligraphic, Scatter, Art or Pattern; when you click the OK button the new brush will appear in the Brushes palette and can then be selected like any other. Figure • 2 shows how the brush would look when it is used as a Stroke, potentially useful for textile design!

Figure • 1

Figure • 2

Figure • 3, page 84, is constructed with a Fill only, the Stroke has no colour - ‘None’. This results in blocks of flat colour without a drawn outline (Figure • 3). Tracing over a template to achieve this requires some skill and perseverance but the Fill can be edited in the same way as a Stroke, by using the Pen ‘remove’ and ‘add’ anchor tools.

Figure • 3

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Figure • 4, page 84, shows the figure with a Brush stroke and Fill for the hair. The Tee shirt is constructed with a Stroke and Fill, the Fill has a ‘Gradient’. To create a Gradient, select the Fill - here the stars on the Tee shirt are selected by Shift Clicking with the Selection tool (Figure • 1). On the Gradient palette select ‘Linear’ from the ‘Type’ drop down menu; the other option is ‘radial’

FILL

Gradient Tool FILL

Figure • 3

You can drag colour swatches from the Swatches palette onto the Gradient palette, then drag the unnecessary ‘gradient stops’ away from the palette (Figure • 2) by dragging away the blue and moving the pink you have the above Gradient.

Figure • 1

To change the direction of the Gradient, choose the Gradient tool from the Tool palette (Figure • 1) and drag across the selected area. Experiment with long and short drags to change the intensity of the Gradient (Figure • 3).

Figure • 3

Figure • 2

The Gradient tool dragged across the drawing To keep a copy of the Gradient drag either from the Fill box on the Tools palette, or the Fill box on the Gradient palette to the Swatches palette (Figure • 4).

Figure • 4

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03 MEDIA TECHNIQUES Vector Drawing - Scaling

• This illustration is created in Adobe Illustrator, which allows for drawings to be ‘scaled’ up and down without loss of quality. The heads were scaled up here in line with a trend for oversized heads.

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03 MEDIA TECHNIQUES Vector Drawing - Scaling

Figure • 1

Figure • 2

Select the area to be scaled up using the Selection tool (Figure • 1). Then drag outwards (follow the red arrow) to increase the size of the selection. When happy with the scale, deselect the area (Figure • 2).

The background is created by repeating strokes over and over in the shape of a dandelion clock. A star shape was chosen from the Symbol Library to place at the centre - to locate go to Window>Symbol Library>Nature and click on a symbol, this then appears in the Symbols palette (Figure • 3). Drag the symbol onto the image and use the Transform tool to change its proportion. Don’t forget to select the image to be altered first (Figure • 4)! The flies, ants and flowers were all added this way. You could also apply a filter (Figure • 5). Try Filter>Distort>Pucker & Bloat, tick Preview in the dialogue box and experiment with the % scale.

Figure • 4 Figure • 5 Figure • 3

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03 MEDIA TECHNIQUES Vector Drawing - Type and Masking

The Type tool in Illustrator allows text to be included in any illustration (Figure • 1). It is very versatile and here is used in conjunction with a ‘Clipping Mask’ to create highly decorative text.

Figure • 1

1 • Go to the Tool Palette and choose the Type tool - the ‘T’ (Figure • 2). There are a number of type tools to choose from. (It is also possible to type on a path - see Figure • 3). Here a spiral has been drawn; select the Type tool and click on the spiral then type. Write the required text - here it is ‘Snow Dwarf’. 2 • Make sure the Character palette is open, or go to Window>Type>Character - keep the text selected and experiment with the scale and font size. Here the two words are too far apart so the Leading is altered (Figure • 4). The font is Nasty-Regular and it is 100pt, which is typed into the Font Size field. 3 • A personal photograph is opened and placed behind the type using the Layers palette. Both the photograph and the text are selected using the Selection tool (Figures • 5 and 6, opposite). Figure • 2

Figure • 4 Font Font Style Font Size

Leading

Kerning

Tracking

Vertical Scale

Horizontal Scale

Baseline Shift

Skew

Figure • 3

NB: Figure • 3 is an extra experiment; it is not used in the image above.

Figure • 5

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03 MEDIA TECHNIQUES Vector Drawing - Type and Masking

4 • Then go to the Layers palette and click on the icon at the bottom of the palette - the Make/Release Clipping Mask button (Figure • 6 where the finger is pointing).

Figure • 6

The whole image reverses to show the photograph through the font and everything else is masked (Figure • 7). 5 • It is possible to ‘frame’ an image by clicking on such as the Rectangle tool and by drawing the shape over the desired edit (Figure • 8).

Figure • 7

6 • Click on the Layers palette Make/Release Clipping Mask button as before and the image reverses (Figure • 9).

Figure • 8

Figure • 9

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03 MEDIA TECHNIQUES Image Editing

• This section of the chapter moves over to using Adobe Photoshop. Like Adobe Illustrator this is a powerful and in-depth piece of software. The purpose of the following tutorials is to show how to use a range of tools in the production of illustrations. The tools are used as the illustrator required them to complete the examples shown, i.e. not necessarily in order of ease of learning.

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03 MEDIA TECHNIQUES Image Editing - Drag & Drop

• This illustration opposite was constructed using Illustrator and Photoshop. You can open an Illustrator document in Photoshop in the normal way - File >Open - then choose the file. It takes a while to ‘rasterize’ the document, but the real benefit is that it retains any transparency created in Illustrator. For example, if you open the black line image in Vector Drawing, earlier in this chapter (page 80) it will show the line only, the chequered background indicates transparency (Figure • 1). Another flood filled file was created in Illustrator and opened in the normal way and rasterized - see the colour drawing in the background of Figure • 1. The idea was to place the line drawing over the flood-filled drawing and change the colour of the line using the Paint Bucket tool, to soften the effect, instead of always using a black outline.

Figure • 1

Drag and drop the layer onto the colour image on the left

1 • Select the Move tool on the Photoshop Tool palette (the greyed out tool Figure • 2). Drag the Layer from the line drawing file on to the colour drawing file - the receiving file shows a black border around it - then let go. You will see that the line file appears as a layer (Figure • 3).

Figure • 2

NB: If the Layer palette is not visible, go to Window>Layers to reveal the Layers palette. This is an essential tool when working in Photoshop and should always be visible. Figure • 3

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03 MEDIA TECHNIQUES Image Editing - Paint Bucket & Colour 2 • The black line of the line drawing layer needs to be changed to a dark red colour for artistic purposes. The layer needs to be selected by clicking on it, you do not need to select a special tool. The layer turns blue when selected (Figure • 3, page 94).

NB: Colour may be selected from the Color palette or the Swatches palette - Figure • 2. The Swatches palette can contain the ‘Pantone’ range of colours (or a variety of palettes - by clicking on the tiny black arrowhead in the top right hand corner of the palette - highlighted by the red arrow). If you are working purely on screen you can use RGB colour space. If you are going to print your work, at a printers, you need to convert it to CMYK.

3 • Then the Paint Bucket tool is selected (Figure • 1) the tool is greyed out. 4 • The red colour is selected from the Color palette by clicking on it (Figure • 2). This then shows on the colour square on the toolbar at the bottom. The top square is the ‘Foreground’ colour. The colour behind is the ‘Background’ colour. 5 • Place the black spill point of the bucket over the area to be changed and click (Figure • 1). Apple Z will revert back to the last action if you make a mistake and Edit>Step Backward will go back as far as ten stages. NB: This task is made much easier if the work is ‘blown up’ as here, by zooming in. Use Apple + (Ctrl + on a PC) to zoom in and Apple - to zoom back out.

You can work in RGB and when finished convert to CMYK go to Image>Mode>CMYK Color.

Figure • 1

Figure • 2

6 • The opacity of the line can be reduced by dragging on the Opacity slider at the top right of the Layers palette, or by typing a number between 1-100 in the percentage field (Figure • 3).

67

94

Figure • 3

03 MEDIA TECHNIQUES Image Editing - Pattern Stamp Tool

Figure • 3

Figure • 1 The yellow area in the colour layer (Figure • 1) is too flat, so a texture needs to be applied. The layer needs to be selected by clicking on it. 1 • The yellow area needs to be selected using the Magic Wand tool, the greyed out tool on the toolbar (Figure • 2). This allows areas to be selected that are of similar nature. Use the Shift key whilst making multiple selections. A dashed line appears around the perimeter of the selection. Leave this image for now.

Figure • 2 Figure • 4

2 • Open the textural image, here a personal photograph of a distressed wall - File>Open - then select (Figure • 3). 3 • Select the whole image using the Marquee tool in the toolbar - a dashed line appears as a rectangle where selected (Figures • 4 and 5). 4 • Go to Edit>Define Pattern (Figure • 5).

64

Figure • 5

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03 MEDIA TECHNIQUES Image Editing - Pattern Stamp Tool When the pattern is defined a dialogue box pops up where you can give the pattern a name if required (Figure • 1). 5 • Click back on the main image and the colour layer. Click on the Pattern Stamp tool on the toolbar (Figure •3).

Figure • 1

Figure • 2

When you click on the tool, the menu bar changes to show the options for the stamp, such as brush shapes, sizes and opacity (Figure • 2). Click on the Pattern arrow and the library of patterns is revealed. Click on the pattern just created and this loads into the tool. If you are covering a large area click on the Brush arrow to change the shape, size and effect; scroll through the brushes to see what is possible. You can also make the pattern semi-transparent. The Opacity is 53% here because the original image is quite bright and overpowering (Figure • 4). You can tick the Aligned or Impressionist boxes to create different effects (not visible). You can vary the flow of the tool by clicking on the black arrow. This tool is great for creating repetitive textile prints. The smallest patterns can be selected and used in the tool. 6 • Once the pattern is selected you can then paint into the selected area to create the texture.

96

Figure • 3

Figure • 4

7 • When you have finished applying the pattern stamp go to Select>Deselect or press Apple D to get rid of the dashed lines. You can’t continue work without doing this.

03 MEDIA TECHNIQUES

Image Editing - Layers, Cut, Copy & Paste The Background layer can be copied and pasted, or duplicated so that a visual can be placed behind it, or double - click the Background and it becomes Layer 0, or go to Layer>New>Layer From Background so that the layer may be manipulated like any other. Here the Background is copied to show how to use the Marquee tool. 1 • Choose the Marquee tool from the toolbar and select the whole image as in the Pattern Stamp tool tutorial. Then go to Edit>Copy then go to Edit>Paste, a New Layer is created in Figure • 1. It is Layer 2. To the left of the Layer palette is an Eye icon. Clicking on this means that the layer is no longer visible. (See the bottom layer of Figure • 1). You could delete the image on the background layer instead of copying by going to Edit>Cut then Edit>Paste.

Figure • 2 NB: If you create a New Layer a dialogue box will open and you can give it a name which helps in organising layers. You can also click on a Layer name on the palette, e.g. ‘Layer 1’ and type a new name (Figure • 3).

Figure • 1

2 • The new image for the background needs to be opened and its layer dragged onto the main image as discussed earlier in this section Drag & Drop - Layer 3 in Figure • 1. This layer is dragged up to under the line drawing and full colour layer. It isn’t visible on the image as the blue background has not been edited away yet. Layers work as ‘stacks’ with the top layer being the one in the forefront of the image.

Figure • 3

At the bottom of the Layers palette are ‘short cut’ icons such as the Trash Can icon - you just drag an unwanted layer to the icon to get rid of it (Figure • 4).

Create New Fill or Adjustment Layer

Add Layer Mask

Figure • 4 Add a Layer Style

Create a New Set

Make New Layer

Delete Selected Layers and Masks

NB: Use the ‘Help’ menu to find out more about these other icons

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03 MEDIA TECHNIQUES Image Editing - Layers & Masking Figure • 2, on the previous page, shows that if you click on the arrow at the top right corner of the Layers palette, a variety of options are available; you can create a New Layer, Duplicate Layers etc. all of which will be useful in future editing; more options are available by using the Layer menu also. Merge Down is very useful when making small edits on New Layers it means that you can ‘merge’ with the layer below.

Figure • 2

Experiment with the Layers palette icons shown in Figure • 4 on the previous page; the most frequently used will be the Delete and Make New Layer icons. 3 • To edit away the blue area in the image click on the Edit in Quick Mask Mode towards the bottom of the Tool palette (the greyed out box under the colour swatches) (Figure • 1). It changes Figure • 1the Foreground and Background colours to black and white.

Figure • 1

4 • Select the brush tool and a brush size, dependent on how complex the area you want to mask is (the greyed out area on the Tool palette). Apply the brush to the areas you do not want to edit. You will see that the brushstroke is automatically turned a translucent red (Figure • 1). 5 • Then click the box next to the Edit in Quick Mask Mode called Edit in Standard Mode (Figure • 2) and you revert back to normal working. Figure • 3

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Figure • 4

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Image Editing - Layers, Cropping & Changing Mode The red areas become dashed lines to show where you have selected. Now use the Eraser tool, from the tool palette, to remove the blue areas, revealing the layer underneath (Figure • 3, page 98). 6 • Another photograph is opened, as it has a dramatic lighting effect, and the Layer is dragged onto the image as previously demonstrated (Figure • 4, page 98). It is Layer 5, but to be able to see it, as it is underneath Layer 3, Layer 3 has its Opacity altered to 37%. The combined effect is as Figure • 3, page 98. The image editing has been completed, but the image is too big and has raw edges.

Figure • 1

1 • To crop away unnecessary information go to the Crop tool on the Tools palette (Figure • 1), then drag the selected tool outwards from the top left hand corner selecting the imagery to retain - also Figure • 1 (the potentially discarded material is greyed out, framing the kept imagery). You can use the arrow keys to more accurately select the image when the dashed box appears, or you can move the whole box around the image as the cursor has become a move-like tool. 2 • Then press Return or Double-click inside the image and Photoshop will crop the image (Figure • 2). This image is currently RGB but needs its Mode changing to CMYK because the output will be print, not screen based - see earlier in this exercise on Colour.

Figure • 2

Go to Image>Mode>CMYK Color. A dialogue box will pop up asking if you want to Flatten the image, if there is more than one Layer. This is a native Photoshop file if you save it as, for example, a JPEG File>Save As and choose JPEG from the Format drop down menu, the image will be automatically flattened and you will be asked to choose a quality setting.

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03 MEDIA TECHNIQUES Image Editing

• This illustration continues in the use of a range of tools from Adobe Photoshop. The Help files provided with the software are very useful in offering more in-depth support, however, becoming familiar with terms, tools and possibilities, before consulting Help is often an advantage

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03 MEDIA TECHNIQUES Image Editing - Invert & Filter

• The idea here is to create a vividly coloured illustration and include type. A background photograph is chosen but it is quite dark and complicated looking. This is an opportunity to experiment with Colour Adjustments and Filters.

Figure • 1

Figure • 2

Figure • 1 shows the original photographic image, a construction, and was the basis of the illustration.


Figure • 2 shows the image Inverted where the colour is reversed, press the Apple and i keys (Ctrl and I on a PC) to achieve this. The black construction lines are now white and have a negative quality. To simplify further a Filter was applied (Figure • 3). The image needs to be in RGB Mode (at this stage). To be able to select the Filter, go to Filter>Sketch>Halftone Pattern (Figure • 4). A dialogue box opens and requires input in the fields Size and Contrast (Figure • 5). There are defaults in here and it may help to try these first. Also it is possible to choose between Dot, Circle and Line effects in the drop down Pattern Type menu. On the left side of the fields are thumbnail illustrations of the other filters. Click OK and wait for the effect to be applied. This Filter uses the Foreground Colour on the Tool palette as its colour choice, here a bright red (Figure • 6).

Figure • 6

Figure • 5

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Image Editing - Selection & Adjustments

Figure • 1

Figure • 3

Figure • 2

Figure • 1 shows the figures from Illustrator, opened and rasterized in Photoshop; this image layer is dragged onto the background as in the previous exercise (Figure • 2). The image is transparent, so as part of the style, a new layer is made with a white background using the Bucket tool, opacity is reduced so that the line drawing may be seen and the Lasso tool is used to create an outline silhouette - Figure • 2 shows the dashed line from the tool, with a view to removing some of the white between the body and arm. When complete the opacity is returned to 100%, the white block layer, placed below the line drawing layer and line drawing layer are both merged (Figure • 3). The models’ tops have the previous detail erased and the space filled with flat colour using the Paint Bucket tool. Figure • 4 1 • There are a series of birds flying over the background. The bird subject (Figure • 4) is selected from a scanned drawing using the Magnetic Lasso (Figure • 5) which clings to outlines and the bird is copied to a new document, with a transparent background. The bird needs to look stronger against the bright red background. 2 • To increase the contrast and brightness of the bird go to Image>Adjustments>Brightness/Contrast and move the Sliders for the desired effect. Keep the Preview field checked and the effect can be observed (Figure • 6).

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Figure • 6

Figure • 5

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Image Editing - Adjustments & Scaling Figure • 1

3 • To change the colour of the bird to fit into the new illustration go to Image>Adjustments> Selective Color. In the drop down Colors menu choose Blacks, to remove the black. Experiment with the Sliders until the red is predominant (Figure • 2). Other colours may be altered also, just select them from the drop down menu. 4 • The birds are more convincing if they change in size. To give perspective, go to Image>Image Size and then reduce and enlarge the bird by filling in either the Width or Height fields. If Constrain Proportions is checked this will be sufficient for changing the scale (Figure • 3).

Figure • 2

The resolution of an image may be changed here also in the Resolution field: web imagery is 72ppi, printed imagery is generally 300ppi. Drag the bird layer to the main image each time the size is changed and Duplicate the layers, on the main image, to repeat the instances of the bird. Use the Move tool to arrange the birds (Figure • 6). 5 • The bird on the Tee shirt of the main image was treated in the same way as the background bird (Figure • 5); it was also rotated to fit on the shirt. Go to Image>Rotate Canvas>Arbitrary and enter a number in the Angle field, here check the CCW (counter clockwise) radio button (Figure • 4).

Figure • 3

Figure • 4

Figure • 5

Figure • 6

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03 MEDIA TECHNIQUES Image Editing - Eyedropper

Figure • 1

Figure • 3

Figure • 2

1 • Figure • 1 - is the selected visual for the trouser pattern; it is taken from a Victorian tile. The image is rotated Clockwise (CW) and then Inverted (Figure • 2). 2 • The contrast and brightness of the fish are increased. Go to Image> Adjustments>Brightness/ Contrast, as before, and then Image>Adjustments> Selective Color, as before. The black/dark areas are replaced by red (Figure • 3). 3 • The new pattern is defined - go to Edit>Define Pattern - and loaded into the Pattern Stamp tool, then painted onto the selected trouser area (Figure • 4). 4 • Once patterns have been applied, the black line needs to be removed and the hair filled in at the neck. Choose the Eyedropper tool from the tool palette and click on the hair colour (Figures • 5 & 6 - Eyedropper closeup). This loads the colour into the Foreground Colour of the tool palette. Then the Paint Bucket tool may be used to add the yellow colour, not only to the hair but also to the line, zoom in, or use the Magnifying Glass tool for more accurate work.

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Figure • 5

Figure • 4

Figure • 6

Figure • 7

03 MEDIA TECHNIQUES Image Editing - Type & History 6 • To add text select the T Type tool, there are four tools available (Figure • 2). Click on to the page and make font, colour, size etc. selections from the Menu Bar - type. Each time the tool is selected a new Layer is created (Figure • 3). Apply an effect to the ‘Blue’ type layers - go to the Layers palette and on the Normal drop down menu select Dissolve this gives the effect of roughing up the text slightly (Figure • 4). Each instance of text is also rotated slightly as the birds earlier in the chapter.

5 • On the opposite page - Figure • 7 - the poppy is selected using the Magnetic Lasso as it is quite a complex shape. It is then Copied (Edit>Copy or Apple Key plus C) eight times. The selection is then Pasted (Edit>Paste or Apple Key plus V) on to the main image. Each time, a Layer is created and the Move tool is needed to position the poppies onto the foreground figure’s top (Figure • 1). Once happy with the arrangement, this is an ideal place to use the Layers>Merge Layers command. Figure • 1

Figure • 3

Figure • 2


• The History palette (Figure • 5) Window> History is very useful, in that your actions are recorded by this palette. It is possible to backtrack and drag selections to the Trash icon to undo unwanted effects, if you require a more radical approach than Edit>Step Backward. Experiment with the other icons also.

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03 MEDIA TECHNIQUES Image Editing - Channels


Figure • 3

Figure • 4

Figure • 5

1 • The original image is Figure • 1. Use the Channels palette to edit images, go to Window>Channels if the palette isn’t visible. Here the Magenta channel (in CMYK mode) is selected and the Brightness/ Figure •the 5 image (Figure • 2). Figure • 3command (Image>Adjustments>Brightness/Contrast) Figure • 4 Contrast used to brighten The final outcome is Figure • 3. 2 • Figure • 4 shows the Black channel dragged to the Trash icon at the bottom of the Channels palette. 3 • Figure • 5 shows the result of the Cyan channel being selected and inverted.

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03 MEDIA TECHNIQUES Image Editing - Channels

Figure • 1

Figure • 2

Figure • 3

Figure • 4

1 • Figure • 1 shows the Channels in the Channels palette. 2 • Figure • 2 shows the Cyan channel inverted - Image>Adjustments>Invert, the result is on page 106 (Figure • 5). 3 • Figure • 4 shows the Cyan channel selected and Nudged slightly using the Move tool and Arrow Keys. This gives a look of cyan being slightly out of ‘register’ (Figure • 3).

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03 MEDIA TECHNIQUES Image Editing - Levels

Set Black Point Set Gray Point Set WhitePoint Figure • 2 Figure • 1

Figure • 3

Figure • 4

Figure • 5

1 • The original image is Figure • 1. The Levels palette is opened. Go to Image>Adjustments>Levels if it isn’t visible. It is possible to adjust the Levels by using the Slider at the bottom of the palette or you can use the Set Black/Gray/White Point eyedropper tools (Figure • 2). 2 • Set White Point eyedropper tool was selected and clicked onto the red in Figure • 1, highlighted by the black circle; the result is Figure • 3. Figure • 4 follows the same principle using the Set Gray Point eyedropper tool and Figure • 5 uses the Set Black Point eyedropper tool.

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Image Editing - Feathering and Adobe Bridge 1 • Figure • 1 shows the Magnetic Lasso tool selecting, copying and pasting the head but a Feather of 50px is added which causes the edge to blur slightly. Other very useful tools to experiment with are the Blur/Sharpen/Smudge tools found on the toolbar and other colour correction tools under Image>Adjustments.

Figure • 1

2 • Figure • 2 shows Adobe Bridge which allows you to manage files across software products. Click the Go to Bridge button in the Photoshop options bar to launch it. This is a very useful tool when creating and managing many images. It is possible, for example, to make contact sheets, sort and automate tasks. Experiment with it and understand its value!

Figure • 2

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03 MEDIA TECHNIQUES Presentation - Layout and Typography

• Graph paper was used for the illustration base. The illustration was inspired by a drawing by Egon Schiele and was brought up-to-date by using the document windows on a computer as a layout. Screen shots were taken of the scanned illustration and manipulated in Photoshop to change the normal document headings. A font called Skull Bearer - free with a computer magazine - was used to create the skull visuals.

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• This visual shows a cropped figure drawing in Photoshop. The feel of the imagery is slightly kitsch and highly decorative. Three fonts are used in the title, the first Porcelain, the second Nasty and the final Rosewood Std. The border is created from a library item in Adobe Illustrator - Windows>Brush Libraries>Decorative_Text Dividers - then opened in Photoshop. Zapf Dingbats are used to create the floral pattern. Each time a font is used, such as the Dingbats, they have to be rasterized before they can be edited. The background image is a photograph that has been Streamlined in Adobe Streamline which simplifies the image as blocky colour.

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• This image is constructed as a series of layers, the background image, the printed block, the figures, the fairies and the title. This is a mixture of two fonts, Lovesick and Stencil, the first to achieve an informal, handwriting style the second a more immediate style. The full figures take up a small part of the composition. The other imagery shows the inspiration for the designs.

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• The image was created in Illustrator. It was then opened and rasterized in Photoshop where the background images - the beach factory scene and cropped trees - were placed behind it. The typography was created by using two fonts, the top one - Dirty Ego as it normally appears. The bottom one was customised in Illustrator. Two layers made in the colours as seen, the orange one slightly offset to look like a shadow. The drips were made with the pen tool, using a variety of Stroke widths, then opened and rasterized in Photoshop and dragged onto the main image as another layer.

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• The figure was created first, adding the wings which were taken from a child’s badge scanned into Photoshop, enlarged and montaged onto a layer. The T-shirt design was taken from a distressed piece of signage on a pier in St. Ives. The background monument was a photograph, taken in Newquay, and placed on the bottom layer in Photoshop. The word ‘NO’ was taken from a pavement in Edinburgh. The eclectic nature of this composition highlights how useful it is to keep a sketchbook and carry a camera when possible. The final colouring of the piece was derived from the inversion image of the background picture in Photoshop, a sepia style effect was achieved. The gargoyle is spitting out the print and letters. The letters are rotated using Photoshop - Image>Rotate Canvas - choose a method - Arbitrary requires a number to be entered.

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• The image was created by scaling up the main figure in Illustrator and opening it in Photoshop. As the image was transparent, a white block layer was created and stacked behind the illustration, then the layers Merged. The ‘punk’ font was created by scanning, cutting and pasting a variety of printed matter. The white ‘X’ font is called Downcome. The yellow font is called Capricorn 38 and is decorative rather than informative. The background image is a photograph of lights taken at night.

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• Cardboard and a notebook were scanned. The line drawing was Streamlined in Adobe Streamline to create a transparent background. The recycle icons were used to create a feeling of the made-up brand Snowdwarf. The font Downcome was used for the name, rasterized, selected with the Magic Wand tool and the Pattern Stamp tool used to change the texture to cardboard. The background name was made semitransparent. Chicken Scratch was used as handwriting and a font called Linus Face was used to create the cat icons.

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03 MEDIA TECHNIQUES Gallery

• This illustration is by Christina Davenport, graduate of the Fashion honours degree at Northumbria University. This is part of her ‘mood’ research for her final collection and is in pencil.

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• This spread is by courtesy of Christina Davenport, graduate of the Fashion honours degree at Northumbria University. These are illustrations of her final menswear collection and are hand drawn pencil outlines, coloured on the computer.

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• This spread

of illustrations is by James Lawrence, graduate of the Fashion honours degree at Northumbria University and winner of the ‘River Island 2006 Graduate Fashion Week’ Gold Award. James always hand draws his designs and then colours them in Photoshop by block colour, or by scanning the actual fabric, if it is rich in texture. After printing out the illustrations he will also rework them with fine line pens, pencil or pencil crayons. Also he may do some shading before the scanning process and use various filters to add depth, especially on the faces.

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• This illustration is by Alys Jones, graduate of Illustration at University College, Falmouth. Alys works from life - essential to her production of a number of artworks. She selects the best one to ‘work up’ digitally to a finished image.

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• The initial use of hand skills and painting media gives a loose, spontaneous feel which she aims to retain.

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• This illustration is by Alys Jones, graduate of Illustration at University College, Falmouth. As previous spread.

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• These illustrations are by Chloe Riddle, student of the Fashion Marketing honours degree at Northumbria University. This is part of her project work completed during her industrial placement. The illustrations are created partly by hand and partly digitally.

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• This spread of illustrations is by Alan Scott, fashion designer. Alan uses pencil to sketch the silhouette. He then applies Pantone markers to achieve flat colour and then paint and/or coloured pencil to achieve shade and texture for fabric representation.

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• This spread of illustrations is by Alan Scott, fashion designer, as previous spread. Here Alan has used the Pantone markers sparingly to convey a more summery looking collection for both women and men.

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• These illustrations are by Amy Clover, graduate of Illustration at the University of Lincoln. Amy researches current trends in fashion photography and produces images that reflect this. She combines line, colour and texture through mixed media.

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• She predominantly uses an emulsion based background on a wood/board surface, often with an emulsion print or image transfer to add interest and texture. Amy then draws a figure with pencil crayon before applying restricted colour in acrylic paint.

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• These illustrations are by Liz Clements, graduate of Illustration at University College, Falmouth. Liz’s illustrations are traditionally rendered and then finished in Photoshop. She uses a mixture of acrylic paint, collage and water soluble crayons.

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• She then scans the drawings into the computer and adjusts the brightness, contrast, colours and composition in Photoshop - by going to the menu item Image>Adjustments and making the choices required.

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• These illustrations are by Liz Clements, as previous spread.

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• This spread of illustrations is by Christopher Hodge. Christopher uses pencil to sketch the silhouette

then applies Pantone markers to achieve flat colour and the stripes. Coloured pencils are used to redraw detail over the darker colours.

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• This spread of illustrations is by Michael Sullivan, a graduate of the Graphic Design honours degree at

Swansea Institute of Higher Education. Michael’s work often evolves from photographs that he has taken, whether to manipulate and layer in Photoshop, to digitally trace over for a simpler form, or to draw from freehand (often all of these processes merge to create one image).

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• Until recently, the majority of his graphic design work was entirely computerised, but he began to tire

of the certain lifeless, cold qualities it often presented. Completely computerised work also presented difficulties in creating something unique in style. Where appropriate, he tries to incorporate handcrafted, raw, human aspects. He likes to layer texture with hand drawn lines with the contrast of block colour.

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• This illustration is by James Lawrence, graduate of the Fashion honours degree at Northumbria University. This was a piece of project work executed in his final year.

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• This illustration is by Laura Dover, graduate of the Fashion Marketing honours degree at Northumbria University, and is coloured with soft pastel and coloured pencil giving a very soft surface texture.

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04 FABRIC REPRESENTATION

Introduction

One of the best ways to give illustrations life is to research and practise representing fabrics. To illustrate the possibilities of fabric rendition, we have chosen to show examples of fabric representation rendered in traditional techniques only, traditional techniques enhanced in Adobe Photoshop and Adobe Illustrator and using purely digital techniques. See also Media Techniques. Fabrics have texture, surface decoration and handling qualities. Rigid fabrics behave in a different manner to fluid ones. Printed fabrics looked at closely will take on a different aspect from further away. (The scale of fabrics represented on paper is obviously different to a swatch of the actual fabric.) A good exercise is to paint and draw fabrics samples to experiment with techniques for representing different effects and textures. The best practice is drawing from life, using a model, study the way clothes drape and hang on a moving figure, working from magazines and photographs is a good second best. Open your wardrobe and draw a selection of clothes on their hangers! Visiting any gallery will give an enhanced awareness of the skills artists have shown in representing fabrics, particularly cotton lawns, velvets brocades and satins. This is a rich source for endless research. The following pages illustrate examples of fabrics on the figure and as sample studies. There are examples of both patterned and textured fabrics, and constructions such as folds and fringing. Complicated designs are simplified as necessitated by the confines of scale.

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04 FABRIC REPRESENTATION Prints

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Prints

Prints Folds and draping can affect the way a print behaves; parts of motifs can be hidden.

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04 FABRIC REPRESENTATION Prints

A printed fabric was scanned in and overlayed digitally in Adobe Photoshop to create a realistic effect. See Media Techniques

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Depth and Shine

Quilting Padded fabrics have deep indentations which create shade. Garments are light but have increased volume.

Print The print bleeds off the edge creating a three dimensional feeling.

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Satin Satin is generally cold to the touch and has a fluid draping quality. The shine creates strong contrast between light and shade.

04 FABRIC REPRESENTATION Highlights and Pleats

Narrow pleating, such as crystal or mushroom is represented here using a dry hogs hair brush

This representation of sunray pleats is as much about what has been left out than what is drawn.

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Textured Fabrics Mohair is open textured and voluminous. This effect was created with stipple brush and digital fuzzball brush.

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A soft pencil was used to draw a textured woollen jacket. Different pressure and rough cross hatching suggests a woven check.

A frottage technique was used to create the chunky open texture of crochet.

04 FABRIC REPRESENTATION Textured Fabrics

• Textures can be created easily by frottage or stippling or using digital dry media brushes. See Media Techniques.

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Drape and Transparency Paint or digital layers can be a added in transparent layers leaving areas of white, creating a light effect.

Drape Fluidity or drape in fabrics man that th e fabric will fall around the body rather than retain its own shape.

Transparency Layers of transparent fabric like chiffon can be suggested by indicating separate layers at the hem, sleeves, etc.

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04 FABRIC REPRESENTATION Knitwear

Soft pencils were used on their sides and then smudged to create different knitted textures.

The texture of chunky knit needs to be contrasted, using light in a broken, textured outline.

Broderie Anglaise Very simple marks on paper can be used to suggest certain fabrics

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Specific Fabrics

Bold contrasting patterns are easier to illustrate than plain black for example. Often simple lines and treatments are the most effective

Lines are then added to define the position of the eyes, nose and mouth.

Sheepskin, suede and tweed, using ink and digital brushes

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Detailed graphic motifs or lettering is better worked on separately and then pasted onto the original sketch.

04 FABRIC REPRESENTATION Volume and Gathers

Densely black fabrics such as velvets, often provide the greatest challenge to illustrate, as the detail is less visible. This example is created with pencil which provides a slight highlight for the digital paintbucket filled areas of black.

White can cause similar problem if there is little texture to develop, coloured backgrounds are a useful trick to provide some contrast and therefore visual impact. Volume and gathers are either diaphanous or heavy and draping. Try to express the nature of the fabric.

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Wool and Faux Fur

Smudged 8B pencil was used to emphasise the undefined outlines of a woollen coat. Pencil was applied over ink to fake fur trim. The image was coloured in Adobe Photoshop.

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04 FABRIC REPRESENTATION Wool and Faux Fur

Examples of various treatments of one fabric type: brush, ink, stippling and brush tools from Adobe Illustrator and Photoshop.

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Folds and Fringing

Pattern and Folds Bold patterns, for example checks and stripes, show distortions in movement, creases and folds.

Light diaphanous fabrics float around the body, jerseys will hang in folds, brocades and taffetas will hold their original shape.

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Fringing Flicks of the brush suggest fringing; it has more life if drawn as in movement.

04 FABRIC REPRESENTATION Denim

Watercolour and a wash of india ink was used to create a soft denim look.

A denim swatch was scanned and applied to the shorts sketch. See Media Techniques.

Denim is characterised by its deep folds and creases and worn and distressed lighter highlights.

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Lace

Lace can be anything from diaphanous to stretch, from simple tulle to encrusted embroidery.

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A fine technical pen can be used to draw delicate lace and a brush to draw more robust types.

04 FABRIC REPRESENTATION Lace and Embroidery

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Gallery

• Collage courtesy of Helen Ryvar a student on the Fashion Marketing honours degree at Northumbria University.

• The previous examples are a guide to fabric representation. Experimentation with media will provide the basis for more creative outcomes.

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05 FABRIC REPRESENTATION Gallery

• Calligraphic brushes have been used in Adobe Illustrator to create a feather effect.

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05 SKETCHBOOKS

Ideas and Concepts

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05 SKETCHBOOKS Ideas and Concepts

Sketching from life is an important part of understanding the human form. Keeping a sketchbook is a means of practising skills necessary in order to improve drawing and develop fashion awareness. Visual notes can help to form design solutions. Designers take notes and sketches whilst on trips, from television, films, whilst shopping or researching from books, galleries, etc. Sketchbooks can form a treasury of ideas to plunder – a visual diary of places events, ideas, patterns textures, form and colour. Drawing is a springboard to both design and illustration. Visual information can be recorded just like verbal information, but in a graphic form. Analytical drawings or sketches are often required in order to communicate information; in a shop report, for example, where accuracy and speed are vital, drawing is the aid to memory. Sketches can indicate underlying structure, possibilities, etc. or anything that the eye cannot see all at once. Analytical drawing requires thought, not just artistic skill. Unconnected vague ideas and thoughts can sometimes only be progressed through working them out on paper. Seeing a collection of sketches, doodles, notes and scribbles can prove to be a link to a fresh idea or perhaps the process of drawing allows thought to take place in new ways. To this end the use of a sketchbook is fundamental; new associations and understandings emerge as getting visual information down on paper rationalises random thought.

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05 SKETCHBOOKS

Ideas and Concepts

• Extracts from Paris sketchbook. Observational sketches of people in the street, galleries, paintings and sculptures.

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05 SKETCHBOOKS Ideas and Concepts

• Building a visual diary generates new ideas for illustration.

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05 SKETCHBOOKS

Shop and Show Reports

Shop or Show Reports Information has to be reported immediately from shows, exhibitions and shops. Photography is usually unacceptable, therefore detailed quick sketches, made on the spot shortly after memorising the image, are used. The key to this type of work is observational skill and memory. Written notes and diagrams are included. Often these visual notes are developed into more finished illustrations later.

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05 SKETCHBOOKS Shop and Show Reports

• Extracts from Paris retail and street fashion sketchbook. Visual notes recorded from memory.

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05 SKETCHBOOKS


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05 SKETCHBOOKS


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05 SKETCHBOOKS


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05 SKETCHBOOKS

Design Development

Design Development Design development is the selection of sketchbook research, to experiment and reach a design solution. Designers need to be able visually to communicate their ideas both quickly and accurately in order to progress their designs as they are drawn. One way to do this is to use templates of figures or garment types which can be roughly traced over, the design being changed and enhanced in the process. This method can be inhibiting, however, as it may limit the development of silhouettes and viewpoints. Freehand design development becomes easier with practice.

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05 SKETCHBOOKS Design Development

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05 SKETCHBOOKS

Design Development

• Design development drawings based on exhibition research completed in sketchbook using pencil, Pantone marker and watercolour.

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05 SKETCHBOOKS

Design Development

• Design development drawing using a basic tailored jacket shape to trace over.

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• Freehand design development drawings of similar designs.

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06 FASHION ILLUSTRATION

Introduction

During the first half of the 20th century fashion illustrations were widely used for features, covers and advertising in publications. However, the use of fashion illustration in commercial art changed throughout the latter half of the 20th century from that of an illustration of an existing garment, to the communication and promotion of garments which are yet to be produced. Until recently, when illustration in publications has seen a welcome renaissance, the purpose of portraying existing styles has been largely superseded by photography. Vogue’s front cover was illustrated until 1936, when its first photographic cover was produced. In the heyday of fashion illustration artists visited showrooms and studios of fashion houses where a mannequin would model the chosen garment. They then worked in their own time to produce drawings called ‘croquis’. These were taken back to the studio and, using a light box, worked over and developed in line and wash. The illustrators’ skills lay not only in drawing the style with artistic merit but in styling the drawing. The pose, model, hairstyle, etc. was skillfully rendered, portraying a typified vision of the look considered ideal at that time. The great illustrators of the first half of the 20th century declined as patronage of their work ceased in favour of photography. Editorial work now forms only a small percentage of illustration. Fashion illustration for editorial will probably not revive as an art form under present circumstances. However, there will always be a need for illustration to communicate design ideas, and drawing now more often fills the less prominent role of developing design, communicating information for manufacturers, reporting and presenting trends and consumer information, promotion and advertising. Design and design issues are a part of the consumer society and commercial art has a value in itself as it reflects popular culture. The essence of good fashion illustration is its ability to capture the spirit, the zeitgeist, of the moment. To stay informed or ahead of contemporary trends is an art in its own right, demanding a certain amount of dedication. The best sources of direct information are fashion columns in the broadsheet newspapers and magazines and designer and specialist fashion stores in major cities. Indirectly there are general cultural sources - art, architecture, film, literature, street culture, music and sport. Illustrations need not be modelled by thin stylised women or men; surreal, unusual or witty alternatives can be more interesting and memorable.

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06 FASHION ILLUSTRATION Composition

• Think about the abstract pattern that your figures will make on the page. Most illustrations have a centre of interest - this often works better if not placed absolutely centrally. • Consider groups of models and how they will work together. There is no rule that groups have to be all on the same scale, or appear to occupy the same airspace. • Use contrast, light, shade and texture to add interest and drama. Try to think beyond lining up your models as if on a stage.

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Composition - Action

Action All compositions benefit from some movement: this allows for the whole page to be utilised to its best effect. It may involve movement of figures, fabrics or hair, or the use of a background pattern or scenes.

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06 FASHION ILLUSTRATION Composition - Action

• Even simple compositions should consider how a figure sits on the page or alongside other figures.

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Cropping

Cropping The visual impact of an image may be much more effective if the original sketch is cropped. Experiment with the composition in a software programme or simply with a paper window, placed over the image. The fashion illustrator, Antonio, was a great exponent of this technique.

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06 FASHION ILLUSTRATION Viewpoint

Angle or viewpoint ‘Sport and street’ subjects are often photographed from unusual angles. Collect interesting poses from magazines. These can be used as starting points for pose experimentation.

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Graphic Application

Graphic Application Fashion and graphics have become inextricably linked. Much of contemporary fashion relies on graphic application. The fashion industry requires that this type of work be completed using Adobe Illustrator or Photoshop. See Drawing for Manufacture. Drawings courtesy of James Dennehy.

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06 FASHION ILLUSTRATION Graphic Application

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Promotional Drawing

Drawing for Promotion Drawings are produced to promote or predict products for forthcoming trends. The prediction industry can only give an artist’s impression of fashion seasons ahead; this is supplemented with photographs from the major international fashion shows. Illustration for prediction roughly falls into two categories: • Drawings to illustrate themes, influences and directional looks. These tend to be the most contemporary of modern illustrative styles but with enough detail to convey the style adequately. • Technical, highly detailed working drawings of garments, accessories and fabrics. Specification drawings (including measurements) are used by some companies. See Drawing for Manufacture. A garment’s life cycle begins with colour and raw materials which are processed, dyed and woven or knitted into textiles. In order to co-ordinate this huge industry consultancies provide information on trend and colour forecasting. Illustrations are used to promote themes and to visualise directional fashion trends. Consultancies also offer information, closer to the season, for designers and clothing manufacturers as a prediction or confirmation of these trends. Illustrations at this stage provide artists’ impressions of garments which do not, as yet, exist. Advertising and Editorial Although this role is largely taken over by photography, this is one of the few places where freedom of expression can be exercised. Graphic designers and more general illustrators are involved in competing for this kind of work. Fashion illustrators are most often commissioned on a freelance basis by people qualified in fashion design, fashion marketing, graphics and fine art. • Drawing above courtesy of Laura Hart.

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06 FASHION ILLUSTRATION Promotional Drawing

• Drawings courtesy of Laura Hart.

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Promotional Drawing

• A suggestion of mood, line and colour is often enough in a promotional drawing, rather than great detail.

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• Drawing courtesy of Hayley Burr.

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Promotional Drawing

• Drawing courtesy of Poppy Cartwright.

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• Drawing courtesy of May Van Milligan.

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Promotional Drawing

• ‘Give Life After Death’ promotional merchandise drawings courtesy of Zoe Noble.

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Illustrating Garments and Detail Figure • 1

INSPIRATION

colour

pattern

garment shape

texture

• These two pages show the use of colour in a collection. The illustrations give an opportunity to test the balance of garment shape but specifically here, the balance of colour, texture and pattern, so that the collection looks cohesive and consolidates the required look.

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06 FASHION ILLUSTRATION Illustrating Garments and Detail INSPIRATION

Figure • 2

enlarged print

pattern

colour

texture

• The inspiration for the colour stories was derived from such simple matter as: for Figure • 1 - blue wrapping paper montaged onto white paint on hard board; and Figure • 2 - old stamps from Europe, blown up in Photoshop and used for textures and print.

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Illustrating Garments and Detail accessories hairstyles

layers poses with attitude

• Your work can really sell itself if you can create the right ‘attitude’ in the pose. The attitudes are obviously associated with the clothing and the relevant market. • Walking poses, as if on a catwalk, can work, but try and keep them simple. • Hairstyles can sell a look as well as the addition of accessories - the girl with the hard hat has a confident look. • The use of perspective and scale, as here, could also be adopted as a presentation device. • Garment layers and proportions can be communicated when the full figure is used. • Different poses and views help to show varied silhouettes and shapes, for example, the pleated detail in the side and the front view opposite.

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walking poses

06 FASHION ILLUSTRATION Illustrating Garments and Detail

patterns three-quarter view

layers wrapovers

• When illustrating garments with wrapovers like the jacket, right, and dress above, allow one side to be drawn lower than the other; this appears more realistic.

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Illustrating Garments and Detail hairstyles

broken patterns and prints

straps

angles and tilts

fullness and movement

uneven folds

shoe in movement • Try and draw straps and fabrics wrapping around the body. • Drawing from life allows you to observe subtleties like the tilt of the waist and the opposite angle of the breasts, also a summer shoe in movement. • Fullness, ruching and drapes are more convincing when drawn unevenly. A swing to one side is less symmetrical and gives more of an illusion of movement. • The folds in printed garments are more convincing if patterns break at the line of the fold; shadows or stronger colour could be used here.

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• Draw collars as if they are wrapping around the neck. • Indicate movement by drawing stripes, on a tailored jacket, for example, by curving them over the body.

collars broken prints obscured by the jacket

collars

subtly curved stripes

collars

layers

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Illustrating Garments and Detail

accessories patterns and prints

attitude

stripes

patterns and prints

hands

• Cropping figures is useful when illustrating detail or communicating attitude. It can also be helpful when presenting ideas if one figure is cropped and the rest are full figures in the background. Hands need to be well observed though!

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curved hems

curving straps

cropping poses

design detail

textural outlines indicating knitwear • Different angles and viewpoints are useful when illustrating swimwear and lingerie; with a back view, for example, show the curve of the bikini hem wrapping around the body. • Showing lingerie/swimwear design detail on side views with three quarter poses works quite well, but try and keep them simple. • Draw textural outlines when indicating chunky textures such as knitwear.

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07 DRAWING FOR MANUFACTURE Introduction

This chapter deals with the ‘working drawing’. This is the standard method of communicating garment designs in the industry. It is used in manufacturing to inform designers, pattern cutters, buyers, merchandisers, lay planners, machinists and anyone else involved in the production of garments (some of whom may even be in a different country) about specific designs. Working drawings need to be clear to inform this vast range of personnel. There is some skill involved in producing working drawings and this chapter sets out to provide the tools and knowledge necessary for successfully mastering the technique. The basic equipment required for hand rendered working drawings varies from hard or propelling pencils, rapidograph/technical drawing pens in a variety of nib thicknesses (or ‘fineliner’ pens if budget is a problem), through erasers, ruling pens and a variety of inks. Black waterproof ink is useful as it is opaque when applied and reproduces well. Coloured inks are also available and can be used in technical pens. Correction fluid is invaluable to correct any slight inaccuracies. All-purpose fluids are available that can be used on photocopies as well as original art work. French curves help to produce strict and accurate line work, depending on the final uses of the illustration. Software is being used much more extensively in the fashion industry now. It is possible to execute working drawings and render them with tones, textures and colours. After the initial investment in the software and hardware, this is ultimately a speedier way of producing working drawings. It is possible to scan in fabrics and then ‘flood fill’ the drawing (as explained in Media Techniques - Adobe Photoshop - Pattern Stamp Tool) with the fabric to give a more realistic representation of the designs for presentation at buying and board meetings - see the tutorial later in this chapter for producing drawings. Drawings from the Dress Stand are provided to be used as a basis for achieving good proportion having guidelines for the centre front, back, bust, chest, waist and hips. A good, straightforward figure drawing can be used in the same way. Developing the Template shows how to achieve good proportion and how to develop a variety of garment ‘blanks’ that can be used as a basis to design virtually any garment. A range of Blueprints for a five year old child, a woman and a man are provided. Also shown is the use of computer software to achieve similar results. Designing using a Template shows how the same garment shape may be utilised in a number of ways. Developing a Stencil provides another hand rendered method of production which may be helpful if a lightbox and computer are not available. Where to use Working Drawings shows the subtleties between different uses of this type of drawing. The examples at the end of this section show a variety of contemporary approaches and uses of this style of drawing.

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07 DRAWING FOR MANUFACTURE Drawings from the Dress Stand

Figure • 1

KEY: CF - Centre Front CB - Centre Back S - Size

Figure • 2

• Figure • 1 shows the woman’s torso stand, dress size ‘12’ or ‘40’, front, side and back views. • Figure • 2 shows a five year old child’s torso, front, side and back views.

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07 DRAWING FOR MANUFACTURE Drawings from the Dress Stand

Figure • 1

Figure • 2

• Figure • 1 shows the woman’s trunk and legs stand, dress size ‘12’ or ‘40’, front, side and back views. • Figure • 2 shows a man’s torso, size 38, front, side and back views.

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07 DRAWING FOR MANUFACTURE Developing the Template

��

Figure • 1

� �

��

� �

Figure • 2

� �

Figure • 3

� �

��

• The woman, man and 5 year old child torso have been selected for development. Figure • 1 is a combination of woman’s torso and trunk and legs. The figure has been extended at the bust, waist, thigh and calf to allow for the elongation in fashion drawing. Figure • 2 (man’s torso) has been extended for the same reason, showing divisions at the chest, waist and hip. However, Figure • 3 (child’s torso - 5 years) has not been extended because this would alter the apparent age of the child and distort the proportion.

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� �

� �

� �

bust

waist

hip

bust

waist

waist

� � bust

� �

waist

waist

� �

hip

waist

bust

hip

� �

� �

waist

knee

waist hip

Blueprints - Womenswear

• Front view templates are developed from the new figure shapes; back or side views can be developed also (not shown here).

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� �

� �

chest

chest

waist

waist

waist

� �

� � chest

casual sleeve

waist

tailored sleeve waist

� � Blueprints - Menswear

• Sleeve shapes are developed. Tailored jackets have sleeves lying parallel to the body; with more casual sportswear, shirts and dresses allow the sleeves to spread at an angle from the body - the purple outline. (This is also dependent on the type of sleeve to be constructed. For example, a dolman sleeve is an extension of the bodice and the shoulder seam continues down the outside of the arm. Consequently the template chosen should be the nearest to that type of construction.) Where space on the page is at a premium one sleeve can be folded over, this allows detail at the back of the cuff to be seen.

209


� �

� �

chest

chest

� �

chest

waist

waist

waist

hip

� �

waist

chest

hip

� �

� � chest

waist

waist

hip

� �

waist

waist hip

� � Blueprints - Childrenswear

• Each template needs to retain information regarding the centre front and back and the chest, bust, waist and hip lines, as this is helpful when plotting button wraps, double-breasted designs, wrap-overs, hipster styles, cropped tops etc. • All of the Blueprints were created in Adobe Illustrator. To complete the exercise opposite a template could be scanned into Photoshop then opened and placed in lllustrator to act as a template - see Media Techniques, Vector Drawing, page 81.

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07 DRAWING FOR MANUFACTURE Developing the Template Figure • 2

� � bust waist

Figure • 1 1. The bodice template is opened in Adobe Illustrator (Figure • 1). 2. A new layer is created and named ‘blouse design’. The template layer - Layer 1 is locked (Figure • 2). 3. Begin to draw the basic garment shape, on one side only (Figure • 3). 4. Select the drawing with the Selection tool, copy and paste it, then select the copy (Figure • 4). Double click on the Reflect tool - it shares a ‘tab’ with the Rotate tool (Figure • 5). The pop-up dialogue box asks you to select a vertical or horizontal axis, or an angle (Figure • 6). Choose Vertical and the image reflects itself; keep it selected and move it in position over the template, using the arrow keys for precision (Figure • 7).

Figure • 3

Figure • 4

Selection Tool


5. Click on the Eye icon on the Layers palette and de-select it, this makes the template invisible, showing only the design drawing (Figure • 8). 6. Copy and Paste this shape and use it for design development, adding stitch lines and other detail - see next page.

Figure • 7

Figure • 8

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07 DRAWING FOR MANUFACTURE Designing using a Template

Figure • 1

Figure • 2

Figure • 3

Figure • 4

• Figure • 1 shows the garment design flood-filled with colour in Photoshop using the Paint Bucket tool, Figure • 2 shows the garment filled with pattern using the Pattern Stamp tool in Photoshop, the inside of the garment has the opacity reduced to look more realistic. Figure • 3 has a Graphic Style of Parchment (to give a more distressed look) added in Illustrator. Figure • 4 shows blocks of colour added in Photoshop, the Opacity is reduced on the Paint Bucket tool menu bar to achieve a feeling of Transparency.

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07 DRAWING FOR MANUFACTURE Developing a Stencil

Figure • 1

Figure • 2

PRINTS 1. Select the elongated dress stand drawing or a clear front view of the figure (Figure • 1). 2. Trace over one half of the torso to produce a swimsuit shape. Mirror the other side of the drawing and include the centre front/back, chest/bust, waist and hip lines (Figure • 1). Adjust the shape slightly until it looks as required. Cut out the basic stencil in lightweight card for durability (Figure • 2). Further stencils may be created by working one on top of another. 3. To design, draw lightly around the basic stencil, marking the centre front/ back, chest/bust, waist and hip lines as guides in pencil.

Figure • 3

4. Design the garment over the tracing and render as required, here with prints; erase all pencil lines (Figure • 3).

• A stencil shape is useful if a lightbox or a computer and software are not available. • It is important to use an ‘H’ value pencil to keep the traced shape as accurate as possible.

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07 DRAWING FOR MANUFACTURE Where to use Working Drawings

Figure • 1 The drawing is flat but could show movement, dependent upon the fabrication. The fabric representation is important. It is used here to illustrate items for fashion prediction work - new ideas not yet manufactured. Often important details will be highlighted in an exploded drawing.

KEY DETAILS: racing back reversible tops neon prints

Figure • 1

Figure • 2

SOURCE: Snow Dwarf COUNTRY: England COLOUR: Pink print mix with pink/peach contrast print. FABRIC: Viscose mix PRICE: £75-99 MARKET: High street

• The working drawing has a variety of uses and approaches. All of them require the drawing to communicate clearly, with no ambiguity, as this could cause problems in either the projection of key directions for future trends or in the garment manufacturing process.

214

Figure • 2 This is a slightly stricter version of the drawing, used by fashion prediction and design studios. The garment sample has to be accurately observed and recorded. It could be derived from a trade fair, exhibition or could be from a retail outlet anywhere in the world. There has to be additional information such as the source or designer, country of manufacture, colour, fabric, price and market level (Snow Dwarf is fictional). The prediction company uses such information to advise of directional garments corresponding to their previously predicted themes. The designer (dependent on market level) may use the same directional information but is more likely to use the drawing to record comparative information, that is, finding out what the competition is producing and comparing products.

07 DRAWING FOR MANUFACTURE Where to use Working Drawings Figure • 3

Figure • 3 The drawing has the addition of measurements. The garment/accessory would have been chosen for its directional qualities and would have been analysed and measured as a sample. Further information is added regarding the size, colour, price and market level. Figure • 4 The drawing has to be clear with some key measurements, to aid the pattern cutter, on a specification sheet. It will also be used when costing out the produced garment sample. If more accurate drawing is necessary french curves may be used to construct lines. Also there are a number of software packages that may be used, such as Adobe Illustrator. SIZE: NA COLOUR: White/Petrol FABRIC: Canvas/plastic PRICE: £30-00 MARKET: High Street

Figure • 4

BACK VIEW

STYLE NO. COLOUR SIZE TRIMS THREAD LINING INTERL... COST: FABRIC:

FRONT VIEW

DESCRIPTION: Updated Rugby shirt with overblown dragonfly logo back and front, slightly puffier sleeve than usual

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07 DRAWING FOR MANUFACTURE Gallery

• This illustration is by Chloe Riddle, third year student of the Fashion Marketing honours degree at Northumbria University. The work was presented as a series of designs whilst Chloe was undertaking Industrial Placement experience at ‘Concepts’ Paris - a lingerie prediction company.

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BACK VIEW

BACK VIEW

DETAILING OF CONTRAST LEG INSERT

• This illustration is by Fiona Raeside, lecturer at Northumbria University. A variety of techniques have been used to present the designs - the blow up detail, the figure in the background, the ‘life-cycle’ drawing at the base, the use of ‘boxes’ as containers for design elements.

217


• This illustration is by Christina Davenport, graduate of the Fashion degree at Northumbria University. The working drawings are part of the design for her final collection. • Note the very precise drawing of detail and topstitching.

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• This illustration is by Christina Davenport. As before. • Note the use of the stripings to design and the ‘blow-up’ of the collar and sleeve in the top illustration. • In the bottom illustration, the working drawing technique has been used to show the construction and fabrication use of the lining of the jacket.

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• This illustration is by Christina Davenport. As before. • Note the use of the same template shape, the knitwear designs are modified by using colour and detail, both back and front views.

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• Menswear illustration courtesy of IN.D.EX. Note the texture achieved by hand drawing with soft pencils.

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• These two pages are collection illustrations by James Dennehy, graduate of Fashion Marketing at Northumbria University. James’s collection is of ‘spaceflight travelwear’ for space tourists.

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223


• This illustration is by Michael Sullivan, graduate of the Graphic Design honours degree at Swansea Institute of Higher Education. The tee shirt shape simply displays the graphic designs.

224


• This illustration is by James Lawrence, graduate of the Fashion degree at Northumbria University and winner of the ‘River Island - 2006 Graduate Fashion Week’ Gold Award. This is part of his competition work portfolio.

225


• The top illustration is by Laura Mitchell, the bottom by Luke William Miller, both third year students on the Fashion honours degree at Northumbria University.

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• This childrenswear illustration is shown by courtesy of Milou Ket Styling and Design.

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07 DRAWING FOR MANUFACTURE

Gallery

• This illustration is by courtesy of Christopher Hodge. It is a cross between a figure drawing and a working drawing; it shows detail clearly. It is often used in design development, see Sketchbooks.

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• This illustration is by Emma Reynolds, graduate of the Fashion Marketing honours degree at Northumbria University. It shows design development sketches in pencil; there is a feeling for proportion by showing part of the figure and contrasting textiles. See Sketchbooks for more information on Design Development.

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07 DRAWING FOR MANUFACTURE

Gallery

• This illustration is by Fallon Wood, graduate of the Fashion Marketing honours degree at Northumbria University. Fallon’s illustration is a good example of a ‘range planning’ drawing, designed to indicate the scale, colourways and fabrication of a range.

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• This illustration is by Michelle Alexander, graduate of the Fashion Marketing honours degree at Northumbria University. ‘Lifestyle’ extends to all sorts of areas, with unconventional products appearing, not least here with Michelle’s range of ‘dogwear’, requiring as much clarity in design and detail as any other product.

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• This spread of illustrations is by Lisa Lewins, graduate of the Fashion Marketing honours degree at Northumbria University. This spread of design development drawings are very explicit in their detail; there are notations, colour indications and fabric swatches.

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08 ACCESSORIES

Introduction

Accessories may be designed/illustrated without figures, depending upon what is required. You may have to illustrate some figures. For example, a rucksack can be very large or very small, so it could be necessary to illustrate a variety of rucksacks so that the difference of scale was made obvious. You may find it easier to draw some of your own shoes, bags, belts, etc. and then produce a shop report (See Sketchbooks - Shop and Show Reports) of the area you are working on. This helps with research of design ideas, but also contemporary ways of presenting your illustrations. This chapter shows gallery illustrations in a range of areas, often with a variety of approaches, such as: gloves, sunglasses, sportswear accessories, jewellery, shoes, bags, collars, ties, watches and lingerie/bras and knickers. The practical approach to drawing in this section is that of using a pencil to make comparisons of measurement with your own accessories; for example, place a boot or shoe in front of you and use the pencil to plot height and length. When this is established, work out the relationship of construction lines with each other and only then work on the detail, always cross referring one measurement to another. See opposite page. Presentation will also play an important part and it can help to show the illustrations in some sort of stylised situation. Be careful not to overdo this, however, in case the illustration is overwhelmed, ‘lifestyle’ type scenarios help to communicate your intent. See the examples in the Gallery, later in the chapter. Lingerie Whilst not strictly an accessory, lingerie is worth mentioning here. When working in an area like lingerie, draw the full figure, encapsulating the pose, then concentrate on the torso for your actual design ideas. Good, shapely poses are required here to make the most of your designs (see Women’s, Men’s and Children’s Poses in Drawing from Life).

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08 ACCESSORIES

Drawing Accessories

• The unit of measurement is the pencil.

• The pencil is only a tool to show how you can simplify your approach to drawing in unfamiliar areas

Observe and Record what you discover is the key to successful drawing.

• Use the pencil length to help gauge proportion and scale. Apply this method to any accessory.

• Draw your own accessories to gain experience and confidence.

Believe what you see!

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08 ACCESSORIES

Drawing Accessories

• Glove designs were sketched on a layout pad. These were then used as templates to create designs in Adobe Illustrator using the Pen tool. The same process was used to design and illustrate further elements of the range.

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08 ACCESSORIES

Drawing Accessories

• Detailed drawings were created from the original designs and executed in Adobe Illustrator; these were used as specification drawings for the manufacture of the gloves. See Drawing for Manufacture. • Designs and drawings on this spread courtesy of Brett Roddis, graduate of the Fashion Marketing honours degree at Northumbria University.

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08 ACCESSORIES

Drawing Accessories

• Drawings courtesy of Julia King graduate from the Fashion Marketing honours degree at Northumbria University. • Texture, pattern and detail are illustrated in a balanced range.

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08 ACCESSORIES

Drawing Accessories

• Adobe Illustrator is an extremely flexible tool for the fashion illustrator, being able to deliniate the sleek lines of technical accessories and the softer lines of scarves etc. • Drawing courtesy of James Dennehy.

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08 ACCESSORIES

Drawing Accessories

Designs were drawn using Adobe Illustrator. This type of illustration is often used in brochures, particularly for sportswear.

• Drawings on this spread courtesy of Victoria Hare, from the Fashion Marketing honours degree at Northumbria University.

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08 ACCESSORIES

Drawing Accessories

241

08 ACCESSORIES

Gallery - Jewellery

• Illustrations courtesy of Emily Bell.

• Illustration courtesy of Carrie MacDougall.

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08 ACCESSORIES Gallery - Jewellery

• Illustrations courtesy of Carrie MacDougall.

• Illustration courtesy of Lynda Llewellyn. All student work on this spread is from the Fashion Marketing honours degree at Northumbria University.

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08 ACCESSORIES

Gallery - Shoes

• Shoe drawings courtesy of David Hodgson, graduate of the Fashion Marketing honours degree at Northumbria University.

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08 ACCESSORIES

Gallery - Shoes

• Cropped legs illustrations by Michael Sullivan, graduate of the Graphic Design degree at Swansea Institute of Higher Education. See Media Techniques for more informaton about Michael’s techniques.

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08 ACCESSORIES

Gallery - Shoes

• This spread of illustrations is by Liz Clements, graduate of Illustration at University College, Falmouth. See Media Techniques - Gallery for more information about Liz’s techniques.

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08 ACCESSORIES

Gallery - Shoes

• This spread was inspired by ‘Dorothy and Toto’ from the ‘Wizard of Oz’.

247

08 ACCESSORIES

Gallery - Shoes

• This illustration on this page is by James Lawrence, graduate of the Fashion honours degree at Northumbria University and winner of the ‘River Island - 2006 Graduate Fashion Week Gold Award’.

248

08 ACCESSORIES Gallery - Bags

• This illustration is by Irene Burley, graduate of the Fashion Marketing honours degree at Northumbria University; it is an accessories competition entry.

249

08 ACCESSORIES

Gallery - Bags

• This illustration is by Fallon Wood graduate of the Fashion Marketing honours degree.

250

08 ACCESSORIES Gallery - Bags

• This illustration is by Robyn Offord graduate of the Fashion Marketing honours degree at Northumbria University.

251

08 ACCESSORIES

Gallery - Collars

• This illustration was created by Laura Chu, third year student on the Fashion Marketing honours degree at Northumbria University. Laura has used book texts and drawing to create these pieces.

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08 ACCESSORIES

Gallery - Ties

• This illustration of ties was created by James Dennehy, graduate of the Fashion Marketing honours degree at Northumbria University.

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08 ACCESSORIES

Gallery - Watches

• This illustration was by Carrie MacDougall, a student on the Fashion Marketing honours degree at Northumbria University. Carrie has used a variety of media to illustrate the detail and style of the watch.

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08 ACCESSORIES Gallery - Lingerie

• This illustration was by Emma Brown, a student on the Fashion Marketing honours degree, at Northumbria University. This is part of a lingerie conceptual sketch book project.

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08 ACCESSORIES

Gallery - Lingerie

• This illustration was by Carrie MacDougall a student from the Fashion Marketing honours degree at Northumbria University. Carrie has attempted to illustrate the delicacy of lingerie trimmings and detail.

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• This illustration is by Emma Brown, a student from the Fashion Marketing honours degree at Northumbria University. Emma has used ink and watercolour in this illustration.

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08 ACCESSORIES

Gallery - Lingerie

• This spread was illustrated by Emma Brown, a student on the Fashion Marketing degree at Northumbria University. Emma has used a variety of drawing techniques to illustrate the delicacy of lingerie.

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08 ACCESSORIES

Gallery - Lingerie

• This ‘Lifestyle’ illustration was created by Chloe Riddle, third year student on the Fashion Marketing honours degree at Northumbria University; the lingerie is shown on the figure and falling out of the drawers.

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CONCLUSION On the following spread there is a visual guide to the illustration process. It is a simplistic way of understanding the different types of drawing that may be used in the industry, but hopefully conveys the required commitment to the process for a student. Of course, this is not the only way to portray the many types of drawing but it should clarify which skills are needed where. Good figure-drawing skills are desirable but working-drawing skills are essential for the designer. Sketchbook drawing is essential for the student and rapid drawing and observation is necessary for the gathering of research material. Exciting drawing is going to sell good ideas, but also sells mediocre ideas - ahead of someone who has good ideas but poor illustration skills. This book has attempted to be as thorough as possible with its approach to fashion illustration at this time. Becoming competent at fashion illustration takes practice and an inquiring mind, although this book has given a variety of opportunities to speed up the process. Technology now plays its part and this is a great learning process in its own right. Most, if not all, areas of the industry are now fully conversant with the versatility of the computer in illustration. However it must be reiterated that technology is not a substitute for real skill and good draughtsmanship is still the key to selling ideas successfully. Indeed, it is always going to be necessary to use some drawing to visualise personal ideas from the thought process to communicating them to others. Drawings are still, for the most part, scanned into the computer and then rendered, but we have shown some which are drawn directly onto the screen, using a drawing tablet and pen, when a scanner is not available. One last, but very important point must be about colour. The use of colour has been referred to occasionally. Colour can be the most obvious attraction of an illustration and fashions in the use of colour are as important as those of drawing in a particular style or presenting work in a particular way. The use of many of the recipes or tutorials included in Media Techniques can provide an infinite variety of effects from very slick to very naive work depending on the dictates of fashion. Personal interpretation will take on many different guises and colour is always helpful, if not already established (previously defined colour stories may be interpreted in many ways, not least in differing proportions), when working with design or prediction information. Many examples of professional, student, graduates of fashion, fashion marketing, graphics and illustration work are shown to give some variety of approach, but also to show that there is a blurring of disciplines and that it is possible to learn a great deal by looking at others’ ways of working. The subject of illustrating fashion is a large and complex one but hopefully this book will inspire the beginner or help the experienced designer to improve their illustrative skills. All of the tools are here, the rest is up to you!

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AND FINALLY The following is a visual checklist of the illustration process with reference to chapters in the book. Sketchbooks Research, ideas and concepts. Shop Report research using working drawings, Drawing for Manufacture.

Fashion Illustration Promotional uses - producing an illustration of the chosen garment for promotional activities. Look back at Sketchbook and Fashion Illustration for inspiration for the presentation, which could be ‘thematic’.

262

AND FINALLY Fashion Illustration Design development using Media Techniques and Fabric Representation. Drawing from Life Practising relevant poses.

Drawing for Manufacture Choosing the garment to be manufactured and producing a clear working drawing.

Fashion Illustration Illustrating the final range using Media Techniques and Fabric Representation

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BIBLIOGRAPHY This is not strictly a Bibliography rather a suggestion of inspiring or useful books and magazines to look at, to learn from or use as resources. This list is not definitive, just a selection of contemporary and relevant books. Magazines: The magazines listed are good for contemporary culture and resources such as software tutorials or good fashion looks. I-D Magazine Computer Arts and Computer Arts Projects, Future Publishing Creative Review, Centaur Communications Ltd. Textile View, Metropolitan Publishing BV Textile Report Books: Graphics and illustration books that are inspiring and original: All Messed Up, Anne Gerber, Laurence King Publishing, 2004 Imagemakers - Cutting Edge Fashion Illustration, Martin Dawber, Mitchell Beazley, 2004 Hand to Eye, Contemporary Illustration, Angus Hyland and Roanne Bell, Laurence King Publishing, 2003 Handwritten - Expressive Lettering in the Digital Age, Steven Heller and Mirko Ilic, Thames and Hudson 2004 Neasden Control Centre, Die Gestalten Verlag, 2003 Pen and Mouse - Commercial Art and Digital Illustration, Angus Hyland, Laurence King Publishing, 2001 Pixel Surgeons - Extreme Manipulation of the Figure in Photography, Martin Dawber, Mitchell Beazley, 2005 Stencil Graffiti, Tristan Manco, Thames and Hudson, 2002 Surf - a Visual Exploration of Surfing, Steffan Mackert, Die Gestalten Verlag, 2005 200% Cotton, New T-shirt Graphics, Helen Walters, Laurence King Publishing, 2004 Software training books which are clear and affordable: Illustrator Illuminated - Adobe Master Class, Barbara Obermeier and Ted Padova, Adobe Press, 2003 Illustrator CS2 for Windows and Macintosh - Visual Quickstart Guide, Elaine Weinmann and Peter Lourekas, Peachpit Press, 2006 Photoshop CS2 for Windows and Macintosh - Visual Quickstart Guide, Elaine Weinmann and Peter Lourekas, Peachpit Press, 2006 Photoshop CS2 in Easy Steps - for Windows and Mac, Robert Shufflebotham, Computer Step, 2005

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INDEX accessories, 198, 202, 234-260 accessories-gallery, 242-260 acrylic, 74-75 Adobe Bridge, 109 Adobe Illustrator, 80-91 Adobe Photoshop, 92-109 advertising, 188 and finally-the process, 262-263 angle or viewpoint, 185 babies’ and children’s hands and feet, 62 bags, 249-251 balance, 27 ballpoint pen, 72-73 bibliography, 264 blueprints-childrenswear, 210 blueprints-menswear, 209 blueprints-womenswear, 208 brightness-adjustments, 102 brush, 73, 76, 85-86 brushes palette, 84-86 calico, 78-79 carbon paper, 78-79 children’s heads, 56-57 children’s poses, 46-51 newborn, 46 3-9 months, 46 9-12 months, 46 12-18 months, 47 18-24 months, 47 2-2 1/2 years, 47-48 3-4 years, 48 4-5 years, 49 6-8 years, 49 9-11 years, 50-51 12-14 years, 50-51 children’s shoes, 69-70 child’s profile with hat, 53 clipping mask, 90-91 collars, 201, 252 colour, 94, 196-197, 261 coloured pencil, 72-73 coloured thread, 78-79 composition, 181 composition-action, 182-183 conclusion, 261 constructing a woman’s face, 52 contrast-adjustments, 102 cropping, 99, 184 cropping poses, 203 curved hems, 203 curved straps, 203 dashed line, 83

denim, 157 depth and shine, 146 design detail, 203 design development, 174-179 designing using a template, 212 developing a stencil, 213 developing the template, 207211 direct selection tool, 82 drape and transparency, 150 drawing, 17 drawing accessories, 234-241 drawing clothes, 25-26 drawing exercises, 28-29 drawing exercises gallery, 30-33 drawing feet, 63 drawing for manufacture-gallery, 216-233 drawing for manufacture-introduction, 204 drawing hands, 59, 202 drawing heads, 21-24, 52-53 drawings from the dress stand, 205-206 editorial, 188 embroidery, 158-159 enlarged prints, 197 eraser tool, 99 eyedropper tool, 104 fabric representation-introduction, 142 fabric representation-gallery, 160-161 fashion illustration-illustrating garments and detail, 196-203 fashion illustration-introduction, 180 fashion illustration-promotional drawing, 188-195 fax, 78-79 figure construction, 18-20 fill, 84, 86 filters, 89, 101 fineliner, 73 flat colour, 73 folds and fringing, 156 fonts, 110-116 fringing, 156 garment layers, 198-199 gathers, 153 garment layers, 198, 201 gradient, 87 graffiti, 78-79

graphic application, 186-187 hairstyles, 200 hand drawing-line, 72-73 hand drawing-montage, 78-79 hand drawing-print effects and textures, 76-77, 197 hand drawing-resist techniques, 74-75 hat positions, 53 heads, 21-24, 52-57 help files, 100 highlights and pleats, 147 historical perspective: 1910-1919, 5, 6 1920-1929, 5, 7 1930-1939, 5, 8 1940-1949, 5, 9 1950-1959, 5, 10 1960-1969, 5, 11 1970-1979, 5, 12 1980-1989, 5, 13 1990-1999, 5, 14 2000-2009, 5, 15 history palette, 105 ideas and concepts, 162-165 illustrating garments and detail, 196-203 image editing, 92-109 image editing-adjustment and scaling, 103 image editing-colour, 94 image editing-eyedropper, 104 image editing-drag and drop, 93 image editing-invert and filter, 101 image editing-layers cropping and changing mode, 99 image editing-layers, cut, copy and paste, 97 image editing-layers and masking, 98 image editing-paint bucket, 94 image editing-pattern stamp tool 95 image editing-selection and adjustment 102 image editing-type and history, 105 image size, 103 ink, 73-74 inspiration, 196-197 invert, 76-77, 101 jewellery, 242-243

265

INDEX knitwear, 151 lace, 158-159 lasso tool, 102 layers (Adobe Photoshop), 97-98 lingerie, 255-260 magic wand tool, 95 magnetic lasso tool, 102, 105 magnifying glass tool, 104 man’s face-three quarter view, 52 marquee tool, 95 masking fluid, 74-75 media techniques-gallery, 117141 media techniques-introduction, 71 men’s feet, 65 men’s heads, 55 men’s poses, 43-45 men’s shoes, 68 mode menu (Adobe Photoshop), 94, 99 new brush (Adobe Illustrator), 86 observation, 17 office stationery, 78 oil pastel, 74-75 opacity, 99 paint bucket, 93-94 pattern stamp tool, 96 pencil, 72-73 pen tool, 80-83 perception, 17 pleats, 147 postage stamps, 78-79 presentation-layout and typography, 110-116 print and pattern, 143-145, 196197, 199-200, 202 proportion, 34-35 proportion-comparison, 38-39 proportion-elongated figures, 36-37 proportion-feet, 63 proportion-hands, 59 proportion-heads, hands and feet, 58 proportion-natural, 35 quick mask, 98 rotate, 103, 114 scroll, 78-79 selection tool, 82 selective colour, 103 sgraffitto, 74-75 shine-fabric, 146

266

shoes, 244-248 shop and show reports, 166-173 specific fabrics, 152 stamp printing, 76-77 stickers and stamps, 78 stitching, 78-79 stripes, 201-202 sketch books-ideas and concepts, 162-165 stroke, 80-83 symbols (Adobe Illustrator), 89 textured fabrics, 148-149, 203 ties, 253 three quarter view, 199 transform, 89 transparency, 150 ‘Tippex’ paper, 77 type, 90-91 type tool, 105 vector drawing, 80-91 vector drawing, scaling, 88-89 viewpoint, 185 volume and gathers, 153 wall stencil, 78-79 watches, 254 watercolour, 74-75 wax crayon, 74 where to use working drawings, 214-215 whitewash, 77 women’s boots and shoes, 66-67 women’s feet, 64 women’s hands, 60 women’s heads, 54 women’s poses, 40-42 wool and faux fur, 154-155 wrapovers, 199 wreath, 78-79

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