Drawing Fashion Accessories

192 Pages·2012·29.76 MB·English

by  Steven Thomas Miller

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: [phone]
Fax: [phone]
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