Essential fashion illustration men

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<ul><li><p>001-007 01110 9/16/08 10:29 AM Page 1</p><p>FASHION ILLUSTRATIONMEN</p><p>ESSENTIAL </p><p>001-007 01110 9/16/08 9:09 AM Page 1</p></li><li><p>001-007 01110 9/16/08 10:29 AM Page 2</p></li><li><p>001-007 01110 9/16/08 10:29 AM Page 3</p><p>FASHION ILLUSTRATIONMEN</p><p>ESSENTIAL</p><p>001-007 01110 9/16/08 9:09 AM Page 3</p></li><li><p>001-007 01110 9/16/08 10:29 AM Page 4</p><p>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.</p><p>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.</p><p>Whole or partial reproduction of this book without editor authorization infringes reserved rights; any utilization must bepreviously requested.</p><p>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</p><p>ISBN-13: 978-1-59253-505-7ISBN-10: 1-59253-505-4</p><p>10 9 8 7 6 5 4 3 2 1</p><p>Publisher: Paco AsensioEditorial coordination: Anja Llorella OriolText edition: Chidy WayneArt director: Emma Termes PareraLayout: Gemma Gabarron VicenteEnglish translation: Heather Bagott </p><p>Editorial project: maomao publicationsTallers, 22 bis, 3 108001 Barcelona, SpainTel.: +34 93 481 57 22Fax: +34 93 317 42 08www.maomaopublications.com</p><p>Printed in China</p><p>001-007 01110 9/16/08 9:09 AM Page 4</p></li><li><p>001-007 01110 9/16/08 10:29 AM Page 5</p><p>Introduction7</p><p>Bases and Proportions8</p><p>Poses22</p><p>Hairstyles and Accessories64</p><p>Flat Drawing88</p><p>Illustrating with Pencil, Colored Pencil, and Crayon106</p><p>Illustrating with Felt-Tip Pen142</p><p>Illustrating with Ink and Watercolor160</p><p>CONTENTS</p><p>001-007 01110 9/16/08 9:09 AM Page 5</p></li><li><p>001-007 01110 9/16/08 10:29 AM Page 6</p></li><li><p>7001-007 01110 9/16/08 10:29 AM Page 7</p><p>When I received an email saying that there was a project about mens 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.</p><p>Fashion illustration should be somewhat generic wherewomens and mens fashion is taken into consideration.The problem is that fashion today seems to be createdexclusively for womenat least this is the feeling onegets after browsing through bookstores.</p><p>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.</p><p>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</p><p>genders, which means that interests, such as fashion, are shared.</p><p>In view of the current situation, it has been decided that mens fashion should be included on the shelves of bookstores, and so we present this book of mensfashion illustrationstheir faces, clothes, and poses.</p><p>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 womans 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. </p><p>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.</p><p>INTRODUCTION</p><p>001-007 01110 9/16/08 9:09 AM Page 7</p></li><li><p>008-009 01110 9/16/08 10:30 AM Page 8</p><p>Bases and Proportions</p><p>008-009 01110 9/16/08 9:11 AM Page 8</p></li><li><p>008-009 01110 9/16/08 10:30 AM Page 9</p></li><li><p>010-021 01110 9/16/08 10:30 AM Page 10</p><p>10 Essential Fashion Illustration: Men</p><p>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.</p><p>010-021 01110 9/16/08 9:14 AM Page 10</p></li><li><p>010-021 01110 9/16/08 10:30 AM Page 11</p><p>Bases and Proportions 11</p><p>The classic proportion of thehuman body is traditionallyrepresented as being 8 headstall; however, in the fashionworld where slim bodies arethe norm, 812 heads arepreferred.</p><p>010-021 01110 9/16/08 9:14 AM Page 11</p></li><li><p>010-021 01110 9/16/08 10:30 AM Page 12</p><p>12 Essential Fashion Illustration: Men</p><p>If the feet are not positionedcorrectly the figure losescredibility. Drawing balancelines is very useful in order to fix the figure in the space.</p><p>010-021 01110 9/16/08 9:14 AM Page 12</p></li><li><p>010-021 01110 9/16/08 10:30 AM Page 13</p><p>Bases and Proportions 13</p><p>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.</p><p>010-021 01110 9/16/08 9:14 AM Page 13</p></li><li><p>010-021 01110 9/16/08 10:30 AM Page 14</p><p>14 Essential Fashion Illustration: Men</p><p>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.</p><p>010-021 01110 9/16/08 9:14 AM Page 14</p></li><li><p>010-021 01110 9/16/08 10:30 AM Page 15</p><p>Bases and Proportions 15</p><p>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.</p><p>010-021 01110 9/16/08 9:14 AM Page 15</p></li><li><p>010-021 01110 9/16/08 10:30 AM Page 16</p><p>16 Essential Fashion Illustration: Men</p><p>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.</p><p>010-021 01110 9/16/08 9:14 AM Page 16</p></li><li><p>010-021 01110 9/16/08 10:30 AM Page 17</p><p>Bases and Proportions 17</p><p>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.</p><p>010-021 01110 9/16/08 9:14 AM Page 17</p></li><li><p>010-021 01110 9/16/08 10:31 AM Page 18</p><p>18 Essential Fashion Illustration: Men</p><p>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.</p><p>010-021 01110 9/16/08 9:14 AM Page 18</p></li><li><p>010-021 01110 9/16/08 10:31 AM Page 19</p><p>Bases and Proportions 19</p><p>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. </p><p>010-021 01110 9/16/08 9:14 AM Page 19</p></li><li><p>010-021 01110 9/16/08 10:31 AM Page 20</p><p>20 Essential Fashion Illustration: Men</p><p>The fingers of the hand arenot parallel. Light V shapestogether with smoothhorizontal lines dividingthem into threeexcept the thumb which only has one linegive themgreater realism.</p><p>010-021 01110 9/16/08 9:14 AM Page 20</p></li><li><p>010-021 01110 9/16/08 10:31 AM Page 21</p><p>Bases and Proportions 21</p><p>The feet are one of themost complicated parts ofthe human body to capturecorrectly. The soles and theinsteps are never totally flat.</p><p>010-021 01110 9/16/08 9:14 AM Page 21</p></li><li><p>022-023 01110 9/16/08 10:31 AM Page 22</p><p>Poses</p><p>022-023 01110 9/16/08 9:20 AM Page 22</p></li><li><p>022-023 01110 9/16/08 10:31 AM Page 23</p></li><li><p>024-063 01110 9/16/08 10:31 AM Page 24</p><p>24 Essential Fashion Illustration: Men</p><p>024-063 01110 9/16/08 9:19 AM Page 24</p></li><li><p>024-063 01110 9/16/08 10:31 AM Page 25</p><p>Poses 25</p><p>Here are some examples ofarm and leg positions. Thepose will directly influence the position and intensity of the creases in the sleeves.</p><p>024-063 01110 9/16/08 9:19 AM Page 25</p></li><li><p>024-063 01110 9/16/08 10:31 AM Page 26</p><p>26 Essential Fashion Illustration: Men</p><p>024-063 01110 9/16/08 9:19 AM Page 26</p></li><li><p>024-063 01110 9/16/08 10:31 AM Page 27</p><p>Poses 27</p><p>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. </p><p>024-063 01110 9/16/08 9:19 AM Page 27</p></li><li><p>024-063 01110 9/16/08 10:31 AM Page 28</p><p>28 Essential Fashion Illustration: Men</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 28</p></li><li><p>024-063 01110 9/16/08 10:31 AM Page 29</p><p>Poses 29</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 29</p></li><li><p>024-063 01110 9/16/08 10:31 AM Page 30</p><p>30 Essential Fashion Illustration: Men</p><p>However complex the pose may be, the figureshould always be balanced.Therefore the correctpositioning of the feetrequires careful study.</p><p>024-063 01110 9/16/08 9:19 AM Page 30</p></li><li><p>024-063 01110 9/16/08 10:31 AM Page 31</p><p>Poses 31</p><p>024-063 01110 9/16/08 9:19 AM Page 31</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 32</p><p>32 Essential Fashion Illustration: Men</p><p>024-063 01110 9/16/08 9:19 AM Page 32</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 33</p><p>Poses 33</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 33</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 34</p><p>34 Essential Fashion Illustration: Men</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 34</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 35</p><p>Poses 35</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 35</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 36</p><p>36 Essential Fashion Illustration: Men</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 36</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 37</p><p>Poses 37</p><p>Wide fitting suit. The shoulderpads protrude slightly fromthe shoulder creating a smallfold. The trousers are shownwith fewer creases that aredeeper and longer.</p><p>024-063 01110 9/16/08 9:19 AM Page 37</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 38</p><p>38 Essential Fashion Illustration: Men</p><p>024-063 01110 9/16/08 9:19 AM Page 38</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 39</p><p>Poses 39</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 39</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 40</p><p>40 Essential Fashion Illustration: Men</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 40</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 41</p><p>Poses 41</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 41</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 42</p><p>42 Essential Fashion Illustration: Men</p><p>The material of the suit willdictate the rigidity of the suitsappearance. 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.</p><p>024-063 01110 9/16/08 9:19 AM Page 42</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 43</p><p>Poses 43</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 43</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 44</p><p>44 Essential Fashion Illustration: Men</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 44</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 45</p><p>Poses 45</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 45</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 46</p><p>46 Essential Fashion Illustration: Men</p><p>024-063 01110 9/16/08 9:19 AM Page 46</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 47</p><p>Poses 47</p><p>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.</p><p>024-063 01110 9/16/08 9:19 AM Page 47</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 48</p><p>48 Essential Fashion Illustration: Men</p><p>024-063 01110 9/16/08 9:19 AM Page 48</p></li><li><p>024-063 01110 9/16/08 10:32 AM Page 49</p><p>Poses 49</p><p>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. </p><p>024-063 01110 9/16/08 9:19 AM Page 49</p></li><li><p>024-06...</p></li></ul>