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Drawing Fashion Accessories PDF

192 Pages·2012·29.76 MB·English
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DRAWING FASHION ACCESSORIES DRAWING FASHION ACCESSORIES STEVEN THOMAS MILLER Published in 2012 by Laurence King Publishing Ltd 361–373 City Road London EC1V 1LR Tel: +44 20 7841 6900 Fax: +44 20 7841 6910 e-mail: [email protected] www.laurenceking.com Copyright © 2012 Steven Thomas Miller This book was designed and produced by Laurence King Publishing Ltd, London All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infomation storage and retrieval system, without prior permission in writing from the publisher. A catalogue record for this book is available from the British Library ISBN: 978 1 85669 788 0 Design: Eleanor Ridsdale Design Limited Printed in China Dedicated to Janice, whose love makes my life and my art possible. CONTENTS INTRODUCTION 6 CHAPTER 3 CHAPTER 6 MILLINERY 72 JEWELRY 146 CHAPTER 1 Introduction to drawing the hat on Introduction to cut stone shapes 148 USING DIFFERENT MEDIA AND TOOLS 8 the head 74 Drawing cut stones 149 Basics of dry media 10 Templates for different views of the head 77 Drawing colored gemstones 150 Basics of wet media 14 Templates for men’s hats 80 Drawing pearls 151 Papers 20 Drawing pavé 152 Tools 22 Rendering fabric textures 82 Drawing rings 153 Software 23 Drawing blocked and sewn hats 84 Drawing fl at gold and silver necklaces 154 Rendering feathers 86 Drawing gold chain necklaces 155 Rendering bows 87 Drawing earrings 156 CHAPTER 2 Rendering ribbons 88 Drawing sunglasses 157 FOOTWEAR 25 Rendering novelties, fruit, and fl owers 89 Drawing watches 158 Rendering netting 91 Rendering crystal and wood 159 Introduction to drawing footwear 26 Glossary of hat terminology 92 Glossary of jewelry terminology 161 The three-quarter view 28 Glossary of hat silhouettes 93 The side and top view 29 CHAPTER 7 Drawing the three-quarter view 30 CHAPTER 4 FASHION FIGURE DRAWING 163 Drawing the side view 32 BAGS, PURSES, AND BELTS 98 Drawing the top view 33 Introduction to basic proportion 164 Drawing high boots 35 Introduction to drawing handbags 100 Drawing work or hiking boots 36 Gesturing the female fi gure 166 Drawing sandals 37 Drawing an evening bag 102 Gesturing the male fi gure 167 Drawing platforms 38 Drawing a straw bag 104 Drawing shape 168 Drawing athletic footwear 40 Drawing a quilted bag 105 Drawing the silhouette 170 Drawing espadrilles 41 Drawing a monogrammed bag 106 Drawing shadow 172 Drawing various views 42 Drawing rhinestone and beaded bags 107 Drawing shadow on drapery 173 Rendering buffed leather 44 Drawing a hard-shell bag 108 Drawing shadow on the fi gure 173 Rendering satin 45 Drawing a metallic bag 109 Drawing gesture, mass, and form 174 Rendering patent leather 46 Rendering tooled and embossed fi nishes 110 Drawing hands 176 Rendering suede 47 Drawing wallets and covers 112 Drawing feet 178 Rendering woven fabrics 48 Rendering cloth bags 113 Drawing partial fi gures 180 Rendering canvas or tweed 49 Rendering other textures 114 Rendering fur 50 Drawing chain mail 116 Glossary of womenswear 182 Rendering beading 51 Drawing belts and buckles 117 Glossary of menswear 184 Rendering sequins 52 Glossary of rendering fabric 186 Rendering lace 53 Glossary of bag silhouettes 118 Rendering alligator 54 Rendering snakeskin 56 FURTHER READING 189 Rendering acrylic 57 CHAPTER 5 Rendering metallic leather 58 THE BEAUTY HEAD AND COSMETICS 121 INDEX 190 Drawing children’s shoes 59 Flat drawings for production 60 Introduction to face shapes 122 PICTURE CREDITS AND ACKNOWLEDGMENTS 192 Glossary of shoe terminology 62 Drawing the beauty head 124 Glossary of construction Drawing eyes 126 terminology 63 Drawing mouths 131 Glossary of toe shapes 64 Drawing noses 134 Glossary of heel shapes 66 Drawing ears 135 Glossary of shoe silhouettes 68 Drawing hair 136 Glossary of boot silhouettes 70 Drawing profi les 138 Drawing three-quarter heads 139 Drawing angled heads 141 Drawing perfume bottles 142 Drawing frosted glass and crystal bottles 143 Drawing cosmetics and cosmetic accessories 145 INTRODUCTION Illustrating fashion accessories can open doors into the this would be possible without a manufacturer bringing fashion world you didn’t even know existed, as well as the designer’s concept to reality. To accomplish that task providing an avenue for art and style you never imagined with accuracy and specifi c individuality, a blueprint must your work might travel. This book will help you learn a fi rst be made, as the fl at drawing in fi gure 3 demonstrates. variety of studio techniques while also showing you the These three types of illustration each hold their own value applications within the fashion marketplace where you in fashion and will always provide a way for a designer can apply them. Some might argue that a designer does or retailer to bring uniqueness and identity to their not need to know how to draw, but I have never known particular accessory. one who didn’t go further and command more value because they invested time in learning the disciplines of It is the artist’s challenge to take a medium, a surface, add illustrating their craft. imagination and their personal fl avor to the mix, and stir the viewer’s desires to want the fashion they draw. With There will always be a need for editorial illustrations in the media introduced and the step-by-step instructions print and fashion exhibitions. This is the type of imagery in this book, our goal is to give you the tools necessary to that grabs your attention and fi res up your imagination become the illustrator you are longing to be, or challenge about the styles or trends it is projecting, as shown with you to reach beyond your current skill level to master your the alligator handbag in fi gure 1. It is art meant to inspire art. This text will walk you through the basics of observing and attract with the sheer excitement of an idea. Then and styling fashion accessories so you can avoid common there is the ever-present need to sell that ready-to-wear mistakes and possible rejection of your work. The step-by- accessory, as in fi gure 2, making it look as if it were the step demonstrations will also instruct you in media choice only couture piece made for that one special retail client. and texture rendering. This book does not aim to teach you Fashion art used for commercial solutions has the ability a style of art so much as help you develop in the direction to tell the truth about an item while still bringing an of your own choosing and give you the foundational idealized fantasy to its character, stirring up the desires skills necessary to evolve your work alongside developing that make it a shopper’s must-have. Of course, none of cultural trends. Figure 1: Editorial version. This is a loose, dynamic, suggestive interpretation. Figure 2: The retail version is a bold, idealized, and stylized interpretation. Figure 3: The manufacturing version. This drawing is clean, accurate, and descriptive. INTRODUCTION 7 CHAPTER 1 USING DIFFERENT MEDIA AND TOOLS This opening chapter will defi ne the tools and media used throughout this book. It introduces you to some of the media available and their basic characteristics. Once you choose a style direction and technique to pursue, you will need to experiment and practice to achieve a quality of work that is both professional and consistent. BASICS OF DRY MEDIA Dry media such as charcoal, graphite, colored pencils, and pastels are the most common and readily available media with which to draw. Because fashion accessories come in such a vast range of textures and surfaces, you should look for a medium that best describes the fi nish and fabrication of the object as simply as possible. CHARCOAL This is the blackest and most traditional of the dry media. It can be somewhat diffi cult to control for detailed drawings and challenging to keep clean, but there is nothing more rich and expressive than a charcoal line. Charcoal comes in various grades and forms that progress from very hard, typically 2H, to very soft, such as 6B. It is better to use softer grades because you can always lessen your hand pressure for lighter tones, whereas a hard pencil can never be darker than its grade. The alligator handbag was drawn with charcoal pencil and used for a retail advertisement. CHARCOAL PENCILS VINE CHARCOAL COMPRESSED CHARCOAL Charcoal pencils are wood- or paper-wrapped Vine or willow charcoal has a soft gray tone. Compressed charcoal comes in short blocks covered sticks of charcoal that can be It is more fragile than regular charcoal and or stick form. Its deep black color makes it sharpened in a pencil sharpener or with a can be easily rubbed or erased away. excellent for laying down large areas of tone knife. They are used for expressive lines and or for smearing. general drawing. POWDERED CHARCOAL Powdered charcoal is charcoal in powder form that can be padded or rubbed down with a foam pad or chamois. It is also used for pattern and stencil work. 10 CHAPTER 1—USING DIFFERENT MEDIA AND TOOLS

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Drawing Fashion Accessories is a practical guide to illustrating footwear, millinery, bags and purses, cosmetic products, and jewelry, offering a unique resource for students and professional fashion illustrators alike. Illustrated with specially created step-by-step sequences, Drawing Fashion Acces
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