Figure drawing for fashion design pdf download – Document Information

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

These exercises also serve to relax the excessive rigidity comm on in the wrist of the inexperienced artist. During this phase use various grades of pencils that will allow you to sketch lines of varying thicknesses. Get used to measuring out the pressure of the hand on the paper by sketching some lines with the finest of strokes and others with more incisive ones.

By the systematic study of the drawings presented in this book, the student will find useful support in his training, which will lead him or her to practise a t a professional level. We would advise you to work through th e book consistently without missing out chapters. Practise repeatedly on all the suggested poses, starting with the structural an alysis and finishing with the drawing in outline.

Finally, draw your own designs, trace them , and colour them in. By dividing the height of the body into two equal parts, we will see that the head and the upper body take up four units of measure, whilst the legs take up the other four.

By canon we mean th e guiding code wh ich establishes by means of math ematical rules the ideal proportions of the human body, dividing it into stan dard units of measure. From antiquity the human body has been a subject of study for m any scientists and artists who have established canons of proportion suitable for the age in which they lived an d for the conception of the figure prevailing a t the time. Among the many canons which have been proposed we have chosen the Greek one, because we regard it as the simplest and the one most adapted to our purposes.

In this canon the head is regarded as a unit of measure to establish all the other subdivisions, resulting in a total height of the body of eight units of measure. In order to achieve a harmonious reproduction of the female figure in accordance with th e language of fashion, it h as been necessary to modify sligh tly the relative size of some parts of the body, wh ilst leavin g th e overall body and the division into sections un changed. This particular and rather unrealistic posture gives more elan and elegance to the leg, moreover allowing visualization in detail of the type of footwear worn when viewed from above.

Another slight modification is the elevation of the waist and of the pubic region shortening the pelvis a little, allowing the figure to appear taller and more slender.

Finally, to accentuate the height further, the bulk of the body has been slimmed down. We shall call this modified code the fashion canon. The measurements of this canon serve as a means of creating ideal proportions, hence they are rare in reality. However, the aim is to find a way to achieve an accurate and harmonious representation of a female figure. Having made these basic introductory remarks, let us move on to the examination of the various aspects of th e canon, outlining the fundamental points in order of occurrence.

In order to emphasize better the articulation of the figure, the lower and the upper limbs have been made to rotate around the body. In this way the shoulder is included in the upper body and the leg in the pelvis as they are raised laterally. As you can see, the figure has been made thinner and the pelvis is narrower than the shoulders. All of the joints have been represented by small circles drawn inside the body. Draw the median axis, which in this case is parallel to the vertical axis, then the oval shape of the head, being careful not to make it too wide.

Th e distance between the temples will determine the width of the shoulders, and in their turn the shoulders will determine th e width of th e p elvis in the fourth segment of the diagram. Finally the structure of the legs an d the arms should be sketch ed emph asizing all of the join ts. It is also necessary to proceed with this method when working with oth er positions, always correctly portrayin g the relationship between one figure and another.

Let us finish these sketches of the face by drawing the ears, whose height is equal to the line which links the upper eyelid to the base of the nose. Finally let us draw the eyebrows in a curved fashion touching at their highest point the bottom of section I.

II II Fig. To find where the neck joins the head, let us extend the horizontal line that extends from the base of the lower lip until it touches the oval at the points N From the base of the chin B let us draw a straight line BP, the height of one section of the rectangle, establish- ing the hollow, the height and the width of the neck.

As a last exercise trace the result- ing outline giving clarity to the features of the face, the neck and the hair Fig. The ear inserted into section B is to be located behind the jaw in a slanting position. Many students when they repro- duce the human figure or a part of it have difficulty in envisaging size from the point of view of perspec- tive and therefore inserting what they want to draw into space.

This very often results in drawings which are flat and shapeless. Getting used to taking into consid- eration the concave part of the head as well helps in overcoming these errors of vision.

Lines of construction and gentle shading determine more clearly the size of the head. Every movement of the head results in a new redefinition of the figure and its visual aspects.

In these pages we see visualized some faces portrayed from a vari- ety of angles. The structure of the oval is emphasized by a neutral background the better to empha- size in each rotation the resulting proportions.

Triangular face These drawings show the most common facial characteristics among women. Its variety of movements and joints obliges the student to undertake an infinite series of studies whether from life or from memory, with the aim of reproducing it accurately in harmonious proportions and from various angles. A well-drawn hand confers more grace and femininity on the fashion plate, a badly designed hand compromises its overall harmony.

Analysis of Structure Proportionately speaking, the hand is as long as the face. The principal parts of the hand are: back, palm and fin- gers. The latter consist of the thumb, thicker and shorter than the other fingers and made up of two phalanxes, the index finger, the middle finger, the longest, the ring finger and the little finger which is almost as short as the thumb.

The last four fingers are made up of three phalanxes known as follows: the proximal phalanx, which joins the hand, the middle phalanx, which forms the middle of the finger and the distal phalanx, which is at the extremity of the limb. Every finger is of a different length, the various points of articulation and movement allow a hand to be the pre- back hensile instrument of the body and in its particular mor- phology and expressivity the hand sometimes reveals the character and the degree of sensibility of the person.

Each part has a corresponding joint, which allows extreme flexibility, mobility and rotation. Three spheres of different sizes indicate the respective joints of the shoulder, the elbow and the wrist. The arm extends from the shoulder to the waist, the fore- arm from the waist to the groin, whilst the hand extends approximately halfway down the thigh.

For a better understanding of the proportions and the joints of the arm, as for the rest of the body, we recom- mend studying from life or using manikins. Unlike the hand, the foot is more closed and compact and its wedge-like shape and broad sole ensure that the foot functions as a support for the body. Structurally it consists of five main parts: the heel, the two malleoli, the bridge of the foot and the five toes. The hallux, or big toe, is the largest.

Finally, the sole of the foot has the function of supporting the body. Right: Representation of the foot in outline seen from different per- spectives. Proportionately the leg, including the foot, has a height of approximately four units of measure of the overall figure. Structurally the limb is made up of three moving parts: the thigh, the leg and the foot, which are connected by the joints of the hip, the knee and the ankle.

The broad outline of the lower limb can be represented as with the upper limb by two cylinders, which narrow at the bottom, by a truncated cone, which holds the calf geomet- rically and by a wedge-shaped form already mentioned in the previous chapter for the foot. Three spheres of various sizes indicate the location of the joints.

The first differ- ence that we notice in these three drawings is the variation in rhyth- mic structures. In the first and third drawings, the rhythmic structure assumes a curved aspect which starts from the hip joint going as far as the centre of the knee, whereafter it descends verti- cally to the inside of the foot. In profile the lower half of the leg underlines the difference in height which exists in the bending of the knee, namely lower at the front and higher at the back.

The frontal view of all three legs demonstrates the points of con- tact with the body’s musculature, on the inside upper part of the thighs, the knee, the calf and the ankles. By contrast we note those areas where there is no contact with the musculature on the inside of the thighs, between them and the pubic region, between the knee and the calf, on the leg below the knee and between the ankles and the foot.

Sizes and proportions change according to the type of perspec- tive. In order better to understand the size and proportions involved, practise usi ng an artistic manikin, following the methodology sug- gested in the preceding chapters. Stylists like to place it in evening dress with a surprising decolletage or to emphasize its curvaceousness in highly feminine suits.

The upper body is the key to the fashion plate and know- ing how to reproduce it perfectly from every angle and in its every movement is a sign of great artistic ability. By contrast, an upper body in which the proportions are badly rendered or which is drawn too rigidly undermines the entire figure and throws its wearability off balance, rendering the fashion plate listless and impractical.

In order to move so expressively, models practise at length the art of walking with an air of dignity, and to understand realistically every slightest rotation, every tension and every muscular coordination, much attention must be lav- ished even on the smallest movement. Carrying out numerous exercises is therefore indispensa- ble to achieve the necessary harmony for each pose.

Structurally it is made up of two moving parts of dif- ferent sizes, the thoracic region and the pelvic region. These anatomical features also constit ut e the main dif- ference between the female body, which is rounder and more flexible, and the male body which is more imposing and muscular.

A frontal view reveals the following features from top to bottom: the neck, cylindrical in form and nestling in the upper body behind the collarbone, the shoulders which are smaller than those of the male and of the same width as the hips, the collarbones, bones in the shoulders that join up as they dip in the cavity of the neck. Then we have the thorax, which is the single largest struc- ture in the body, formed by the ribs, the sternum, the pro- truding breasts and the armpits.

To find the exact position of the nipples it is useful to draw two lines at 45 from the hollow of the neck through the ribcage. The shape of the breasts in an adolescent girl resembles an upside-down goblet and the dimensions can vary according to the type of build.

The upper body joins the hips at the waist, which is much smaller and slightly elevated in contrast to a man’s. The pelvic region is formed by the stomach with the navel, by the hips and the pubic region. The main features of the back are the shoulder-blades, which follow the movement of the arms, and the spinal column, which elevates the upper body and allows by means of its particular anatomical structure an infinite number of positions and movements.

The lower part of the upper body is formed by the pelvic wedge, which extends backwards to the sacrum and the buttocks, whose medium-sized and large muscles have the shape of a butterfly. In profile we can see at the front the shape of the thoracic region and at the rear the shape of the pelvic region.

The thoracic region can be represented from the front and from behind by a trapezium whilst from the side and when foreshortened it assumes a more rounded aspect, almost like a barrel The pelvic region is represented from the front and from behind by a more flattened trapezium, whose base is as wide as the shoulders From the side and when foreshortened it assumes the schematic appearance of a cuneiform box to contain the buttocks Pay careful attention to protrusions and indentations in the thoracic region and the pelvic region and to their pro- portions.

In order better to emphasize the dynamic of both parts or of one only, we h ave drawn the area of the hip and the waist with chiaroscuro.

From an infinite variety of movements we have carefully chosen selected poses to present the most common posi- tions adopted by models when they are modelling or sit- ting.

In this instance it is also advisable to acquire the necessary ability to portray any movement of which the upper body is capable, even if subsequently only those poses most suitable to the needs of the fashion designer are used. For an exact reproduction either of the parts of the body portrayed or of the rotations and counter-rotations of which the body is capable, it is highly important to estab- lish the rhythmic structure straight away, along with the broad outline of the upper body and the pelvis.

We shall emphasize one line in order to stress the internal rhythm and use finer lines to envisage the rotations and counter-rotations. We have marked the upper body here with curved lines, as far as the breast, waist, hips and groin are concerned.

The lines drawn from top to bottom divide the body in half, be it from the front, side or rear. Every sideways bend corresponds to an extension on the other side of the body. Every movement of the shoulders corresponds to a move- ment in the pelvis. They are movements which are supple, trim and nimble. The fashion model walks in a way that is absolutely unique, turns and swings her hips in a wonderful way, stops and poses in ways which defy gravity.

Let us seek to understand together how to capture with a few lines in a drawing these exceptionally flexible and dynamic movements. In each instance rotation and counter-rotation of the upper body will be analysed, identifying the rhythmic structure and proportions of every pose.

It has to be lively in expression, freshly drawn, dynamic in movement, elegant in the pose and portrayed in the posi- tions which are in keeping with the type of clothing cho- sen. Try not to draw a fashion plate in a pose which is too static or too realistic, the result will be wooden, artificial and not in keeping with the ephemeral and joyous lan- guage of the fashion world.

It is also advisable not to portray the fashion plate in posi- tions which block the interpretation of the model. Remember that the body of the model acts as the basis for the item of clothing, but it must not dominate, cover or distort it; it must rather facilitate the legibility of the cut and of the details, accompanying the pattern in its shape, assuming dynamic poses to emphasize spaciousness, sophisticated and sober poses to underline a more rigor- ous cut and more relaxed poses for a younger one.

It is important, by contrast, to be able to catch the correct position with a few strokes and to distribute bodily weight, signalling inside and outside of the body planes of incidence, lines of comparison, angles and perpendicular lines so that it is possible to reproduce the pose of the model in the most faithful way possible. First of all it is necessary to locate the key line, or put another way the rhythmic structure, which is inherent in every pose.

This line can vary enormously, as every figure has its own fundamental rhythm. First and foremost you should sketch a line in the upper body, passing through the hollow of the neck, the ster- num, the navel and the pubic region, which then descends to the ground following the leg, which functions as a sup- port for the body.

In a static figure viewed from the front, the rhythmic structure corresponds to the line which describes the height of the figure. Method of Execution To understand how the weight of the various parts of the body is distributed, sketch the rhythmic structure, reduce 88 the body to a skeleton and visualize schematically the principal structures, namely the line of the shoulders, waist, hips and finally the segments which indicate the position and length of the limbs, marking the joints with small circles.

We shall thereby have obtained the outline or the essen- tial structure of the female body. Then, as the second phase of this procedure, draw on top of the structural skeleton the broad sketch of the figure determining the areas of the body, outlines and the dimensions of the hair.

The result will be a geometrical figure similar to a robot, with all of the joints clearly indicated. Proceed then to a more detailed analysis of the various anatomical features with a view to reproducing faithfully or almost faith fully the subject under scrutiny.

It is important to draw lightly insofar as there will be a number of pencil strokes superimposed. Only intensify those that are right for the visualization of the outline, eliminating the others that do not form an integral part of your study.

Finally, on a sheet of tracing paper, draw the figure only in outline, removing all the pencil strokes, lines and segments that you have drawn to characterize perfectly every aspect of the body. The outline that you obtain will be your first fashion plate. Figure in outline and fashion plate.

From left to right : Location of the key line or rhythm. Construction of the skeletal struc- ture in outline, sketching the line of the shoulders, of the waist and of the hips. Schematic representation of the parts of the body. Detailed analysis of the various anatomical parts. Copy of the figure obtained in outline. One of these rules, probably the most important, is the notion of positive and negative space.

The space surrounding the figure is negative, whilst the space that the body occupies in a given area is positive. In every respect it is essential to consider a negative area as positive to achieve the correct reproduction of the given subject. In reality it is a complex structure composed of dynamic forces, tensions, balances, proportional compar- isons and depths of perspective. Let us analyse a figure according to these rules with a view to reproducing it accurately in terms of proportions and position.

The use of tracing paper is advised to visualize all of the lines of construction directly over the subject, in order then to proceed to drawing freehand. Model ever more clearly defined. The fashion plate finished in outline and light chiaroscuro. Fashion plate drawn in outline. The upper and lower limbs assume various positions.

Fashion plate partially clothed, drawn in outline. AS the shoulders and the pelvis move, the rhythmic structure of the entire figure changes. I www. There are various ways of stylizing a figure, and one of them is to elongate the height of the model by one or two units of measure.

The diagram above has been elon- gated by one and a half units of measure and the one on the page opposite has been raised by two. The head has more or less the same dimensions, the shoulders are slightly broader in relation to the pelvis, the neck has been slightly elongated.

The chest has also been broadened while the pelvic region has been shortened, thereby raising the pubic region. The waist has been reduced in size, the limbs have been elongat- ed, maintaining proportions with the upper body. The feet obviously follow the extension of the body in length. The resulting drawing is very sim- ilar to the outline but presents more energy and vitality.

The diagram clearly shows the variations that we have intro- duced. We have made the waist thinner as well as the flank, the pubic region has been raised, the legs and arms are equally long but have been made thinner, the neck is slimmer, while the head and the feet remain unchanged from their original size. It is opportune in this respect to keep a file of poses used by pro- fessional fashion designers; this will be extremely useful for copy practice and for examples of interpretation. When the legs are too long in comparison with the rest of the body it is difficult to make out exactly the height of the head.

An upper body that is short or narrow impedes the clarity of the line. Shoulders that are too broad or too narrow interfere with weara- bility. A waist that is too narrow impedes the clarity of the waist- line. Poses that are too static, relaxed or generic make the fashion plate wooden and dull. Artistic techniques that are too illustrative are of no use in the planning stage, even if they are pleasing in the execution.

Remember that you are fashion designers and not illustrators, therefore your task is to conceive of the collection in considerable detail and as quickly as possible. Take a simple and striking fashion pose, such as the one in the dia- gram. If you want to you can move the head: you will obtain from a single position various fashion plates portrayed in differ- ent positions.

Using this technique of multiple poses with a fixed upper body, you will obtain various fashion plates from a few basic original posi tions. It is sufficient to portray only the motif or the detail that you wish to emphasize, enlarging the area of interest and bringing it into close-up, using a technique common in cinema and photography. Each picture drawn serves to highlight a detail which must be clearly portrayed, in order to facilitate the faithful interpretation of the stylist’s work in the fashion house.

I I www. The smaller figures represent the sketches for some poses. The route taken by the mod- els presents the opportunity of visualizing various items of cloth- ing in a pleasant setting. For classical lines you should use hairstyles which are unostentatious and sophisticated.

For casual and elegant lines hairstyles which are more natural and fashionable would be more suitable, whereas for a very youthful item of clothing, styles which are more informal and amusing are to be preferred.

Accustom yourself to observing the appearance of the models as they are working, studying the smallest details in relation to the item of clothing that they are wearing, developing the curiosity to discover every message which is hidden from the superficial observer. Sometimes a hairstyle which is very distinctive and which goes with extravagant accessories is enough to engender fascination, even with a very simple item of clothing.

Designers sometimes love to make their more classical creations seem extreme with hairstyles and bizarre head- gear, in order to create an original and spectacular image. All of the illustrated fashion plates were created with spe- cial felt tip pens, using clear and precise strokes poses on page The technique of felt pens was chosen as it is the one most used by fashion designers for its fresh and impromptu nature.

If you want your design to be neat, it is necessary to trace the primary sketch on a white sheet of paper and to colour it in afterwards. Dynamic and distinc- tive poses for this youthful and vital type of fashion. Take note of the distinctive hair- styles, the fashion accessories and the attention to detail. Elegant poses as are required for evening dresses which make use of drapes. Few lines of movement and eco- nomical uses of colour give the figures freshness and spontaneity. The hairstyles and the accessories emphasize the sensual and orien- tal style of this mini-collection of evening dresses.

For poses r’ r ‘I ‘ r7 used, see page Every detail and element of finish ing accentuates the youthful and informal style. The fashion plates drawn in out – line can be used as the basis for practising variations in colour and particular fabrics.

Take note also in this case of the attention to details. For every suggested pattern it is advisable to carry out the relative drawings from the dress stand and some production schedules.

To achieve these effects it is advis- able to use special halftone screens, which are sold in special – ist artists’ materials shops. With the use of the computer it is pos- sible to carry out innumerable variations in colours and fabrics. But in the absence of a computer it is advisable to use, besides felt pens, the technique of collage, through which it is possible to obtain surprising arti stic effects. The companies in the sector made themselves more responsive to changes in taste among consumers, offering in profusion products which were suited to the most var- ied demands of the market.

The figure of the designer became increasingly important for the success of a company in the world of fashion. It was in the s that the relationship between designer and industry assumed an absolute importance insofar as the latter had an ever greater need of the most well- known names to publicize and promote its product suc- cessfully at an international level. It will be realized th at clothing, just like other consumer products, is not just an external covering of the body, but is its living cockpit which seeks to represent through its function and aesthetic a real industrial undertaking that fully responds to the portrayal of the ‘self and to the social context in which one moves.

It was from here that the need developed for specific stud- ies relative to the mass media, to marketing, to advanced technologies with the planning of textile fibres which were ever more comfortable and futuristic.

Fashion, therefore, is not just clothing but is an industrial product at the highest level of planning design.

In recent years many sociologists and psychologists have also analysed fashion as a ‘mass phenomenon’; Konig for example defines fashion as a fundamental force in social life that has found profound roots in the collective uncon- scious, not only in wealthy societies but in all types of civ- ilization.

In his analysis he adds that one of the strangest charac- teristics is that the more it is studied, the greater the increase in importance that is attributed to it and adds that at first sight it seems to influence only the exterior aspect of people and things, but by observing it in greater depth it is revealed as one of the great principles of trans- formation in society.

The phenomenon that is fashion assumes a symbolic value and it is by means of transference that it reveals itself in clothing and every group, every individual expresses a part of himself through what he wears: dreams, needs, desires, taboos etc To conclude this brief psychosocial excursion we advise you to read specific texts which are useful in understand- ing the language of the body in non-verbal communica- tion, to enter into the infinite space of the psyche.

The couturier knew exactly the tastes and the physical characteristics of his own clientele. Sometimes in the most prestigious fashion houses dress- maker’s dummies were made, reproducing the exact measurements of the most discreet and fastidious women, who with every confidence in their couturiers sometimes had precious, finished items of clothing delivered directly to their homes.

Today this kind of product is reserved wholly for haute cou- ture, which precisely because of its exclusive nature takes care of the clothing for a clientele that is very sophistica- ted and elite. With the development of the textile industry and pret-a- porter many fashion houses have turned themselves into companies rendering consumers homogeneous by seg- menting them according to type, dividing and manufactur- ing clothes in relation to predetermined and uniform sizes.

Clothes which have their own cut can differ in style by means of details, finishes and taste. For centuries an infinite number of cuts and different styles have been followed, but the dimensions most fre- quently used can be summarized in a few examples and from which innumerable variations dictated by taste and the trends of the moment can be derived.

The examples which follow show some fundamental pat- terns with diagrams that are very basic and geometrical, with the aim of emphasizing primarily the dimensions and the type of cut. Top left to right: H, upside-down truncated cone, hourglass, column, empire, convex Bottom left to right: 1Tapezium, barrel or bag, redingote, amphora, puff, siren www. Beyond the cut the dimensions are influenced by the stitching, by the colour of the fabric, by its quality, by the matching of styles and different colours among them- selves, by the type of finishings used such as fringes, flounces, pleats, necklines, fancy sleeves etc.

Left to right: Projects, widens, lowers www. We propose a generic schema made up of a useful panel for portraying the garment with technical headings.

In this instance the design is for a pair of casual drainpipe trousers. Note also the accuracy of the drawing in this instance and the precise representation of detail. Completing the schema will allow one to verify the sam- ple pattern in the workrooms.

Number Width I I l www. The drawing on the opposite page Also the arms being moved away portrays the same basic positions, from the body give clarity to the but the figure is more detailed.

Sleeveless top -Close-fitting skirt minimal wearability. Wearability is the relationship between the length and spaciousness of an item of clothing.

It is the room for movement that exists between the fabric and the body. Technically it is expressed in centimetres, which are added to the pattern at special points. The degrees of wearability are expressed in specific tables which, according to the type of fabric and cut, give more or less room to the item of clothing that is to be realized.

❿
 
 

❿

 

Figure drawing for fashion design pdf download.Uploaded by

 
Downloaded from replace.me on December 10, by guest. Figure Drawing For Fashion Design New Pdf. When somebody should go to the books. Download & View Figure Drawing For Fashion Design – Elisabetta Drudi as PDF for free. More details. Words: ; Pages: Preview; Full text. Practise repeatedly on all the suggested poses, starting with the structural an alysis and finishing with the drawing in outline. Finally, draw your own designs. Read & Download PDF Figure Drawing for Fashion Design (Fashion & Textiles) Free, Update the latest version with high-quality. Try NOW! Figure Drawing for Fashion Design [Drudi, E.] on replace.me *FREE* shipping on qualifying offers. Figure Drawing for Fashion Design.❿
 
 

❿