Download - Essential fashion illustration men

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FASHION ILLUSTRATIONMEN

ESSENTIAL

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FASHION ILLUSTRATIONMEN

ESSENTIAL

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All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without writtenpermission except in the case of brief quotations embodied in critical articles and reviews.

maomao affirms that it possesses all the necessary rights for the publication of this material and has duly paid all royalties related to the authors’ and photographers’ rights. maomao also affirms that it has violated no property rightsand has respected common law, all authors’ rights and other rights that could be relevant. Finally, maomao affirms thatthis book contains no obscene nor slanderous material.

Whole or partial reproduction of this book without editor authorization infringes reserved rights; any utilization must bepreviously requested.

Copyright © 2008 by maomao publicationsFirst published in 2008 in the United States of America byRockport Publishers, a member ofQuayside Publishing Group100 Cummings CenterSuite 406-LBeverly, MA 01915-6101Telephone: (978) 282-9590Fax: (978) 283-2742www.rockpub.com

ISBN-13: 978-1-59253-505-7ISBN-10: 1-59253-505-4

10 9 8 7 6 5 4 3 2 1

Publisher: Paco AsensioEditorial coordination: Anja Llorella OriolText edition: Chidy WayneArt director: Emma Termes PareraLayout: Gemma Gabarron VicenteEnglish translation: Heather Bagott

Editorial project: maomao publicationsTallers, 22 bis, 3º 1ª08001 Barcelona, SpainTel.: +34 93 481 57 22Fax: +34 93 317 42 08www.maomaopublications.com

Printed in China

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www.rockpub.com

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Introduction7

Bases and Proportions8

Poses22

Hairstyles and Accessories64

Flat Drawing88

Illustrating with Pencil, Colored Pencil, and Crayon106

Illustrating with Felt-Tip Pen142

Illustrating with Ink and Watercolor160

CONTENTS

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When I received an email saying that there was a project about men’s fashion illustration, for which they were counting on me, I could not believe it. Hadsomebody read my mind? This future book had been the one I always yearned for in my years as a fashiondesign student! And, until now, I had not found any that dealt with the subject.

Fashion illustration should be somewhat generic wherewomen’s and men’s fashion is taken into consideration.The problem is that fashion today seems to be createdexclusively for women—at least this is the feeling onegets after browsing through bookstores.

But the reality is different. The myth that men do notworry about how they dress only changing from theiroffice suit to their casual wear is something thatnowadays clashes with reality. The growing obsessionregarding physique, which leads them to pack into fitness centers and use exfoliating creams, is alsoreflected when they are clothes shopping. The width of their garments follows the trends that the stylistspraise in the magazines and they undoubtedly knowthree times as many fashion designers as their fathers.

Women, on the other hand, not only maintain theireternal obsession with physical beauty, but also work and run the home. Things are levelling out for both

genders, which means that interests, such as fashion, are shared.

In view of the current situation, it has been decided that men’s fashion should be included on the shelves of bookstores, and so we present this book of men’sfashion illustrations—their faces, clothes, and poses.

In this discussion about illustration we will find certaindifferences between the male and the female, but thisdoes not imply that one is better or more beautiful than the other. It is true that men do not have the stylish curves of women, but those curves are replacedby shapely muscles, which are equally attractive. Andalthough a woman’s pose is a lot more theatrical than that of a man, the latter can evoke greater strength. The important thing is that, in both fashionworlds, there should be an overriding objective whenputting illustrations on paper: they must be understood.

A good illustration is usually the first step toward asuccessful collection, because it will be useful for allthose who participate in its production process: from the sales clerk at the fabric store, to the pattern maker, to the client. And it is also useful because they allunderstand it and know how to translate it as though it were a language.

INTRODUCTION

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Bases and Proportions

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10 Essential Fashion Illustration: Men

When drawing the humanfigure whether for a fashionillustration or not, being aware of the structures andproportions of the body is vital. One of the mostpopular techniques with which to start is theconversion of the figure to geometric shapes.

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Bases and Proportions 11

The classic proportion of thehuman body is traditionallyrepresented as being 8 headstall; however, in the fashionworld where slim bodies arethe norm, 81⁄2 heads arepreferred.

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If the feet are not positionedcorrectly the figure losescredibility. Drawing balancelines is very useful in order to fix the figure in the space.

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The horizontal lines thataccentuate the position of the figure are those of theshoulders, waist, hips, andknees. The imaginary,flexible line stretching fromthe cranium to the sacrum is our vertical guide.

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The head is created by joining a circular shape and an oval shape. The eyes aredrawn approximately where these twoshapes come together in line with the upper part of the ears.

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It is important that a coherentrelationship between the eyes, ears, nose and mouth is maintained, regardless of the position of the head. Here are some examples of lines that can help.

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The eyes give expression andpersonality to the figure. When they are being drawn, it should benoted that the eyebrows are thickertowards the center. The eyelids and corners of the eyes are alsoimportant features.

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Here the drawing of the nose can beseen from different angles. The positionof the nose will dictate to what degreethe nostrils and the nose wings arenoticeable.

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The ear has always been a problem due toits strange interior shape. Good observationcan lead us to simplify certain lines, resultingin a less complex version of the ear.

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The mouth of the man is usually represented asbeing thinner than that ofthe woman. Thick lips arerepresented without fullycompleting the shape. Forthin lips it is sufficient tofaintly mark the bottomof the lower lip.

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The fingers of the hand arenot parallel. Light V shapestogether with smoothhorizontal lines dividingthem into three—except the thumb which only has one line—give themgreater realism.

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The feet are one of themost complicated parts ofthe human body to capturecorrectly. The soles and theinsteps are never totally flat.

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Poses

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Poses 25

Here are some examples ofarm and leg positions. Thepose will directly influence the position and intensity of the creases in the sleeves.

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Poses 27

The extended arm reaches the crotch area and is never shown totally straight. In the lowerillustration we can see that the right arm is foreshortened, whichmakes it seem smaller in accordancewith the laws of perspective.

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When the position is halfprofile one of the legs issketched at a slightly differentheight in order to achieve as true a picture of theperspective as possible.

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Poses 29

The fact that the human bodydoes not have straight linesshould be taken into account.A gentle curve would bemore realistic. When drawinga profile, the position of thelower foot depends on howopen the legs are.

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However complex the pose may be, the figureshould always be balanced.Therefore the correctpositioning of the feetrequires careful study.

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Poses 31

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Poses 33

When showing movement,the back leg is the one whichcreates greater tension in the crease of the fly. Thesecreases should be drawn with light strokes.

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With few substantialtransformations in the lastcentury, the suit is, and willcontinue to be, the key piecein the masculine wardrobe.This special section will showhow it is presented accordingto its size, material, or pattern.

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Poses 35

Tailored suit. A classic suitconfers a slightly geometricand solid look to the shouldersand chest as though it were abox or suit of armor. The tiefollows the curved line of the chest.

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Tight fitting suit. The shouldersand chest are still squareshaped and the trousers makeshort creases at the seams,created by quick strokes. Theright forearm, foreshortened, is close to the biceps area withan S-shaped crease.

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Poses 37

Wide fitting suit. The shoulderpads protrude slightly fromthe shoulder creating a smallfold. The trousers are shownwith fewer creases that aredeeper and longer.

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Poses 39

Short trousers/long trousers.As the figures show, theshorter length trousers havehardly any creases at thebottom, whereas the trouserswith a longer length createdeeper creases around theankle area.

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In poses with the hands in thepockets, the suit jacket is liftedup. To portray this, archedshaped creases can be drawn.The creases formed by thetrousers touching the instepare also obvious.

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Poses 41

Here is an example of how the trousers fall in a seatedposition. The creases areconcentrated in the crotcharea where the opposingtensions stretch from thecentral seam of the trousers.

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The material of the suit willdictate the rigidity of the suit’sappearance. Wool, shown here, creates a lot of creases,although they appear soft. In the right leg, the ironingcrease is not continuous when interrupted by a natural crease or fold.

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Poses 43

A patterned suit can never be uniform. In this figure thechecks act as a mesh andenable us to see how thevolumes of the body aredrawn and how the lines are broken by creases.

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The movement of the armwhen raised causes thewaistcoat to follow suit, rising from the central frontpart. The resulting creases can be represented by 3 or Z shapes in a spontaneous and light fashion.

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Poses 45

Rolled up sleeves createsquashed, oval-shapedcreases. Here we can see that the rise of the crotch is lower due to the trousershaving a wide fitting.

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Poses 47

It is very important to correctlyportray the creases when thefigure is in movement in orderto give a good picture of thegarments. When walking, themain tension is produced fromthe hip of the front leg to theknee of the back leg.

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Poses 49

The selected pose depends onwhat we want to highlight inthe figure. In the example onthe left, the pose represents arelaxed attitude as does theattire. With the figure on theright we want to accentuatethe cummerbund.

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Poses with the hands in the pockets are perfect forsimplifying the drawing task or when giving the figureattitude. Here are someexamples of different ways of posing in this position.

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Poses 51

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Poses 53

When we place hands inpockets we should alwaysmake the correspondingcreases. The hand in the pocket creates differenttensions depending on the pose.

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Poses 55

A long sleeve is also affected byplacing the hand in the pocketof the trousers. Touching thepocket creates creases at thebottom of the sleeve.

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Poses 57

Views of the back are equallyas precise as views of thefront. Elbows, the back of theknees, and the Achilles heelare usually the starting pointfor many creases, withoutforgetting the lower part of the behind.

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In this backwards-facing pose,thanks to the jumpsuit, the waythe creases follow the movementof the body is seen perfectly. Theman standing straight up with hisback towards us is pulling on thegarment from the back part of the knees.

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Poses 59

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Poses 61

It is possible to try somethingdifferent apart from the classicposes of standing, sitting, orlying down. In these cases,however, the creases will bemuch greater.

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Poses 63

When presenting acollection using a group, it is important that eachfigure poses in a differentand unique way while stillmaintaining the harmony of the group.

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Hairstylesand Accessories

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Hairstyles and Accessories 67

Hairstyles should be worked inthe same way as creases: with a quick and firm stroke. Thisensures that the lines of thehairstyle, albeit in a moresimplified way, greatly resemble reality.

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When the hair has loose curls,the outline should be drawnwith uneven semicircles. Theway to create an irregular style,as with tight curly hair, is todraw the outline with the wrong hand.

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Long hair requires imagination fromthe illustrator. The style of the hairshould be frequently different—brushed outwards, brushed inwards—and always with loose and differentstrokes.

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Glasses are the only orthopedicobject considered an element offashion. Here we see differentmodels: round, thick-rimmed,thick-rimmed metal, and sun-glasses with a metal frame.

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The reflected light ofsunglasses can be shownin many ways as it is veryirregular. A simple methodis using white parallellines.

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When drawing hairbands it is a good idea to applycreases which stretch fromthe edge to the centre. Ifcreases are only used in the center the result isunrealistic.

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When drawing visors, itshould be rememberedthat the interior part ismore shaded. This shadecould be emphasized very simply.

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Hoods are not easy tointerpret. Their behavior isvery irregular. In this examplewe can see how the position of the figure’s head makes the hood taut from theshoulder area.

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When drawing hats orcaps, as in this case, it isuseful to draw a little bitof hair at the sides to make the illustration more realistic.

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There are many ways to knotscarves, ties, and bowties. If wehave to sketch a close-up then we have to be very careful whencreating the knots—where themajority of the main creases arise.

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Bags for men tend to be large.The creases mostly arise frombags made of fabric—giventhat the leather used for bagsis usually very hard and rigid.

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Here we present various models of shoesseen from different angles. It is importantto consider carefully the seams and lacesand also understand that the heel is moreattractive when shown in perspective.

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These poses of feet should remindus of their importance in the drawingof a figure. As we have already said,a correct positioning of the feet isessential in giving credibility to thefigure—this positioning could beinnovative or more straight forward.

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Flat Drawing

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Although they are called flat drawings, the illustratedgarments should always looklife-like. Consequently, thereshould be more gentle curvesthan straight lines.

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Flat Drawing 91

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T-shirt Polo Shirt

Long Sleeved T-shirt Long Sleeved T-shirt Back View

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Flat Drawing 93

The sleeves should be drawn with a curve as well as the waist, which usually tapers slightly. In the same vein, the hems should not be drawn with a straight line.

Classic Shirt Shirt Back View

Mao Collar Shirt Striped Pattern

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Ribbed areas are illustratedby lines of varying widthdepending on the requiredthickness. Here we can seetwo wool jumpers: one with a thin gauge and the otherwith a much thicker gauge.

Djellaba Collar Shirt

V-neck Woolen JumperPolo Neck Jumper

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Flat Drawing 95

A flat drawing must show all the details. On this pagewe can see two types ofwaistcoat with differentlinings: the upper one has anormal lining and the lowerone has a padded lining.

Waistcoat Waistcoat Back View

Padded Waistcoat

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Double seams, fasteners,details. The flat drawingrequires intricate detail, which calls for the use of a lead pencil or a sharp, hard pencil (H).

Empire Vest

Underpants Boxer Shorts

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Flat Drawing 97

Athletics Shorts

Cargo Bermuda Shorts

Long Length Swim Shorts

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We can see here how a ribbedelastic hem or waist affectsthe predominant material ofthe garment. The material isgathered in where it reachesthe elastic, thereby altering its size.

Tracksuit Bottoms

Denim Dungarees

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Flat Drawing 99

Jeans

Pleated Trousers

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Tailored Jacket Blazer

Dinner Jacket Morning Coat

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Flat Drawing 101

The button holes, lapels,lining, pocket flaps, and pleatson a single jacket, as with any other garment, must bedrawn. This is the job of theflat drawing—to make thegarment fully comprehensible.

Morning Suit

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A flat drawing is successfulwhen the garment it depicts is clearly understood. This typeof drawing is what is shown tothe person who will produce to these specifications.

Hooded Sweatshirt

Wind Breaker

Jacket

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Flat Drawing 103

Ski Jacket

Motorcycle JacketAnorak

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Sailor Coat

Long Length Coat

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Flat Drawing 105

Generally there are not manycreases in flat drawings;however, they can beincluded when drawing agarment with a belt to drawattention to it and show it as a separate piece.

Trench Coat

Parka

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Illustrating withPencil, Colored Pencil,and Crayon

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The pencil is the best toolwith which to sketch, as it is erasable and is ideal formodifying when we are not certain what we want to draw.

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Illustrating with Pencil, Colored Pencil, and Crayon 109

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In these figures we are usingvery soft pencils (B) with anunsharpened lead. We woulduse this tool for sketches thatdo not require much detail.

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The use of very thick pencilsenables the figure to besensed by intuition as someareas are left unsketched.This is the case with the legs in this figure where the continuity is sensed even though we have notcompleted the outline.

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Here, we use a pencil that is slightly thinner than theprevious one although it isequally soft. With this pencil,details such as buttons orspecific creases can be addedto the drawing.

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Normally, the soft pencil (B)gives a more attractive finishon porous paper. The result is always more artistic andgratifying.

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From this point onwards wewill work with normal pencils,which are also soft, and allowus to work in greater detail and bring the faces to life.

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To give credibility to a look and soul to a figure, the shinein the eyes must be positionedcorrectly. The interior cornersof the eyes and eyelids mustalso be taken into account—as we saw in the first part.

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With a lead pencil (0.5) wecan take the detail to anotherlevel. It is an ideal tool fordrawing double seams, thinribs, patterns, strings, etc.

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The color pencil is usually softand allows us to outline in sucha way that the color forms partof the interior. We can also colorin the garment and outline thedetails with a different color tomark the difference.

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When we use color we do not have to color in thewhole area. We can leavesome spaces in white. These would represent the more illuminated areas of the garment.

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When we create illustrationswith patterned material wecan omit the figure outline.The pattern itself creates its own limits, thereby giving a misleading sense of continuity.

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When coloring in with pencil, the only thing to remember is that creases have to be darker. This is the only way they can bedistinguished from the rest of the garment.

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Shaded areas do not always haveto be grey or black. Sometimesit is preferable to apply shadingwith complementary colors, suchas blue or violet on the skin.

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Crayons are very waxy so theyare not usually suited to detailedwork. They should be used withlight strokes so that the surfaceof the drawing does not getsticky.

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It is a good idea to use a fixingspray when the illustration isfinished, since greasiness couldstain other drawings when theyare stored.

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If we are quick and have a steadyhand then crayons are a good toolwith which to draw silhouettes. It isimportant to bear in mind that workcannot be erased if an error is made.

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Given the lack of precisioncrayons offer, we will use them in a very limited way when sketching. Here, the details should not be the most important feature.

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Crayons are greatfor filling in largeareas. If we crayon on top of a photograph wecan achieve a veryreal effect. Here,cotton wool hasbeen used to blur the image.

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Illustrating with Felt-Tip Pen

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Illustrating with Felt-Tip Pen 145

Felt-tip pens are very good tools for advancedillustrators. The result isclean and aestheticallypleasing as long as thebrush strokes are quick and sure.

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As with the pencil, mediumsized felt-tip pens (1.2 mm)give a high level of detail thatis ideal for faces, creases,accessories, and fasteners.

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As we can see in theseillustrations, the medium felt-tip pen, as well as the thickone, should be used with careto draw faces. A simplificationof the features is the bestsolution.

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To completely fill in a figure witha felt-tip pen requires previousstudy. It is advisable to fill inwhole parts (sleeves, necks,trouser legs, etc.) in one go from the top to the bottom and then carefully give them a deeper shade.

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The fine 0.4 mm felt-tip pen will be the one used to bring out details as much as possible. With this type of felt-tip pen it is possible to draw almost any kind of detail.

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With color felt-tip pens we can greatly simplify the figure, filling inonly those zones which correspond to shade. The human eye allowsus to imagine the rest of the figure.

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We can use the felt-tip pen throughout to create a flatdrawing, or by using it another way we can leave areas blank to give a shiny effect.

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To draw creases on a color oncewe have completed the figure, we can mark them with the same color, albeit a slightlydeeper shade, so that they are distinguishable.

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It is important to rememberthat the lines on stripedpatterns should not bedrawn straight. These linesfollow the movement of the body and so becomebroken when confronted by pronounced creases.

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For patterns in general it is not necessary to drawthem completely. We candraw some areas and leaveothers to the imagination.This technique creates afalse sensation of volume.

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Illustrating with Ink and Watercolor

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Illustrating with Ink and Watercolor 163

Ink fills all spaces perfectly.By leaving quite a few blankspaces for the creases, we can create the desired shiny finish.

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If the ink is greatly watered down it is difficult to predict its behavior.One way to safeguard a goodoutline is to use sticky tape aroundthe edge so that the ink can be usedfreely. Once the ink is dry the stickytape can be carefully removed.

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In the illustration on theright we wanted to show apair of trousers in differentshades—achievable byusing a very weak water-color and a mix of colors.

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Watercolor is an ideal mediumfor interpreting transparencies.We simply color the textureunder the fabric and once this is dry, a second watered-downlayer is applied on top.

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A sucessful watercolordrawing is achieved from a good base in pencil. When we want to createstronger outlines, the use of pencil will result ingreater definition.

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With watercolor and askilled hand we can achievevery realistic results. Tolighten areas once thesurface has been painted,water from the moistdrawing can be absorbed by cellulose paper.

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The shaded areas will be applied once we havecompleted the first basecolor. The result willdepend on how long the first layer is allowed to dry.


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Voluminous hair isachieved with a pale and irregular layer ofwatercolor first. Once this is dry we continue with light brushstrokesapplying a darker color.

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We can outline the figure in black to emphasize the illustration.This was done with great masteryby René Gruau, possibly the bestfashion illustrator of the twentiethcentury.

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Combining watercolor withanother tool, such as a pencil orfelt tip pen, to draw the outlineof the figure allows us to use thewatercolor splashes quickly andwith a very artistic result.

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A combination of techniques isalways welcome. It can help us toemphasize shaded areas, highlightcreases, or simply outline a figure.

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Watercolor easily enablesus to leave plenty of blankspaces. Light and shadowmust be taken into accountfor the effect to be natural.

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In these kinds of illustrations the result would be imprecise if onlywatercolor were used. A better result is achieved by going aroundthe outline with a felt tip pen.

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Here is a further example of a combinationof illustration techniques. When details oroutlines of the same color in felt tip penare applied to a watercolor base the resultis greatly enhanced.

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If a background is desiredthen irregular splashes ofwatercolor can be used. Thisworks very well, as we can see here, where the figure hasbeen colored in while leavinga lot of blank areas.

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