Fashion Drawing Course: From Human Figure to Fashion Illustration

by Juan Baeza, Susana Saulquin (Preface by)

Overview

When fashion designers draw the human body they need to capture its movement and also take into account how it responds to fabrics and volumes. Fashion Drawing Course analyses the most useful techniques for drawing the human figure in the context of fashion design. It offers in-depth explanatory texts and illustrations that will help to nurture a full comprehension of this type of figure drawing. Fashion Drawing Course is divided into two parts: the first section focuses on the human body and the second one explores the drawing of clothes.

Product Details

ISBN-13:	9788415967064
Publisher:	Hoaki Books
Publication date:	09/30/2014
Pages:	208
Product dimensions:	8.20(w) x 11.60(h) x 0.70(d)

About the Author

Juan Baeza is a Graphic Designer and Illustrator. Professor at the prestigious University of Palermo in Argentina. He also works as a freelance for several agencies, producers and publishing houses.
Susana Saulquin is an Argentinian fashion sociologist specialized in fashion sociology. Director of the post-graduate courses in Fashion Sociology at the Buenos Aires University.

Read an Excerpt

It is the interesting approach taken by Juan Baeza, which stems from his background and experience in teaching the drawing of the human figure, that makes this book an extremely useful tool for designers.

Beyond fashion trends, society nowadays is more individualistic, and contemporary creativity is based on the freedom of recombining. In this context, what stands out is the importance of independent design, which is characterized by offering solutions based on a personal style and inspiration, without following the trends that are imposed from the fashion production centres. Each discipline serves the particular needs of its subject of study. In clothing and textiles, proximity to the body demands a special way of working. Clothes are designed to be displayed using the body and, therefore, must respect the body's topology and the movements and twists it makes. The value of a designer is mainly measured by the sum of his or her ability to understand the idea behind the object and his or her ability to design—that is, his or her ability to translate that idea into reality.

From the foreword by Susana Saulquin, former Course Director of the Fashion and Textile Design Department, Faculty of Design and Architecture, University of Buenos Aires, Argentina.

Table of Contents

Preface Susana Saulquin

Introduction

1. Structure
Harmony or harmonious system
First structural scheme or kinetic structure
Structural Volumes
Volumes in perspective
The three structural boxes
Connections of the upper limbs of the chest
Structuring of the feet
Structuring of the hands
Structure of the face relative to the head
An approximation of the skeleton
Functioning of the arm
Structural planning of the legs
Internal structural planning

2. Musculature
Abdomen and spine
Function of the torso muscles
Pectoral muscles
Deltoid, trapezius and teres muscles
Shoulders positioned upwards and rotation of the shoulder blades
Dorsals and triceps
Extremities
Legs
Arms
Muscle tridimensionality

3. Proportional variation

4. Volumetric synthesis
Examples for creating chiaroscuro in regular volumes

5. Head and face
Proportions of the face
Facial features
Eyes
Nose
Mouth
Stylization the facial form
Stylization of the face

6. Drawing apparel
Order
Primary structure: the body
Secondary structure: the garment
Forces and anchors
Traction from gravity
Traction
Traction plus gravity
Torsion
Compression
Combined forces
Compression in tubular surfaces
Material properties of the fabric and construction of lines
Fibre
Thread
Fabric
Using lines to represent different forces and fabrics
Created from folds
Chiaroscuro of folds
Appearance of the materials
Value
Resolution
Value acceleration
Contrast
Textures and graphics
Simulating texture with graphics