FIGURE DRAWING FOR FASHION DESIGN PDF
Figure Drawing for Fashion Design - Elisabetta Drudi - Free ebook download as PDF File .pdf), Text File .txt) or read book online for free. For those looking for. ELISABETTA DRUDI TIZIANA PACI. This book is produced by The Pepin Press in Amsterdam. Fashion Design Learn how to draw the 9-Head fashion figure with our fashion sketch tutorial! .. - Flat Pattern Making - Sewing -Fashion- Design -Techniques- Pages -PDF.
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Drudi Download Pdf, Free Pdf Figure Drawing For Fashion Design Elisabetta Drudi. Download. Technology - resourceone.info 4 technology gade 9 tem 1 . the fashion design principles for creating aesthetic values. The design should (C) Basic Proportions of Female Figure for Fashion Design Drawing. The typical . email attachments – the PDF can attach notes, be edited and emailed back. the essential principles of fashion design is to build a framework for artful examination Fashion figure drawing – design and invention. Pages··
Technically the effect of light is obtained by making small white circles inside the iris and the pupil , whilst giving greater prominence to the shadow which the upper eyelid projects upon the eye. The second eye is more artificial, the half shadows having been removed. The third eye is more stylized and has more clearly defined outlines.
The eye is protected by the eyelids, the upper one being thicker and broader while the lower one is thinner. Seen from the front, the eye has the shape of an almond, while in profile it assumes a triangular aspect. Important embellishments to the eyes are the eyelashes and the eyebrows, which according to their shape and width lend a profundity to the eyes. In order to draw the eyes accurately give greater emphasis to the lower edge of the upper eyelid and cast a light shad- ow across the iris.
Representation of the real eye with the technique of chiaroscuro. Structural analysis of the eye. Stylized drawing of the eye. The half shadows have been removed, greater emphasis has been placed on the outline and on the inside of the upper eyelid. On of the exact posi- eyes, visualizin the face as if i g part of The s t were a mask. Every face has a different nose which sometimes gives it a decisive appearance.
For this proportional analysis we select a well-propor- tioned nose, even if it is generic in form. For an accurate frontal portrayal we enclose the nose in an elongated trapezium at the bottom of which we sketch three circles, the central one being larger and the two side ones being smaller. The nose is divided into the septum, the alae and the nos- trils.
It is attached to the mouth by the nasal sulcus, which when seen in profile corresponds to the groove beneath the mouth. Always in profile, the hollow above the nose is on the same line as the groove below the mouth. Frontal view Side view 28 Foreshortened view View from below www. Structurally it is made up of an external border called a helix, and an internal one called an anthelix, a softer lower feature at the bottom, the lobe, a protrusion which protects the inside of the ear, the tragus, the tuber- cle, a small swelling on the curve of the helix and finally the concha of the auricle.
The height of the ear corre- sponds to that of the nose.
The upper line of comparison AB aligns the hollow at the top of the nose, the upper eyebrow and the tip of the ear, whilst the lower one CD aligns the bottom of the nose with the bottom of the ear. Where the lips join corresponds to a point one-third across each eye AA' BB'. The trapezoidal sulcus is found between the nose and the mouth, its central axis dividing the mouth exactly into two equal parts. Sketches of mouths from different perspectives.
Seen in profile the upper lip is more exposed than the lower. All of the visualizations are drawn with the help of lines of construc- tion.
The body has no other anatomical part as diversified in its form, size, proportions and expression. Therefore an in-depth analytical study is necessary, accompanied by systematic exercises to acquire the nec- essary ability to reproduce the head by rote. The overall structure of the head is similar to an egg, whose upper part consists of the cranium and whose lower part consists of the face and the jaws. The drawings below show three highly simplified repre- sentations of the head and each has been divided into four sections by drawing in the horizontal axis AB and the ver- tical axis CD.
FA The rule used is one of three divisions from the hairline to the tip of the chin, because it has been shown to be the simplest from the point of view of drawing it. It was Leonardo da Vinci who established that the perfect oval must be divisible into three equal sections measured from the hairline to the upper eyelid, from there to the bottom of the nose, and finally from the bottom of the nose to the tip of the chin.
The student should use this rule to draw a female face correctly.
The horizontal diameter F -G determines the location of the eyebrows. In this way we will establish the cranial area CA and the facial area FA. The highlighted part of the central section of the straight line L-M describes the width of the base of the nose. Let us now proceed to sketch the almond-shaped eyes and the trapezoidal shape of the nose Fig. B B Fig. Then let us retouch the oval, adding to the face more feminine features.
Then let us project a distance of one-third of the eyes as far as the li ne of the mouth, thus finding the extremities of the lips. 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: 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: 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 hallux, or big toe, is the largest.
Finally, the sole of the foot has the function of supporting the body. Sketches of feet drawn from a number of perspectives with vis- ible lines of construction and in outline.
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 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.
Legs portrayed from a variety of perspectives, drawn with rhythmic structure, points of articulation and bending. 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: 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.
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.
Fashion Design Drawing (.PDF)
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.
Figure Drawing for Fashion Design - Elisabetta Drudi
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.
Broad sketch of the whole figure. Detailed analysis of the various anatomical parts. Copy of the figure obtained in outline. Structural analysis and sketch of the body. 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. Structural and outline analysis. Fashion plate drawn in outline. Structural diagram with robot-like figure. The upper and lower limbs assume various positions. Structural analysis. 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: 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. An annual anal Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Published in: Full Name Comment goes here. Are you sure you want to Yes No. Be the first to like this.
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Fashion plates are the primary means of visualising ideas and concepts in costume and fashion design.. You just clipped your first slide!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. Three-quarters By changing the height and width you will also be able to visualize the most unusual collars. For this proportional analysis we select a well-propor- tioned nose, even if it is generic in form.
A novice fashion designer will have a little difficulty in arranging the various elements of finishing in a harmo- nious whole. 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.
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