For basic figure drawing see: Figure Sketching
I realily like the very basic stylised figures here. An architectural illustrator.
This is a very basic stylised video, showing use of eyeline and basic principles of capturing people in a scene. I like the variation between ink outline, then others started in wash.
Teoh’s tips for sketching people on location – contour drawing and don’t keep moving your head up and down.
This one is just inking in already drawn people. But I like the style.
Realitime videos by Meridel L. Abrams following of how she copes with the various challenges of sketching on location.The first is very rapid sketching of shoppers in a parking lot. The second more stationary outside a restaurant. Both done from a car.
Hands and Feet
Fashion illustration records and documents forms of clothing, especially when being worn. Its aim is to help designers and manufacturers understand the physicality and look of clothes, but also to persuade and excite the view about the clothes. It requires capturing the posture of a person, the clothes they’re wearing, the particular nature and detail of those clothes, and how they relate to the figure wearing them. But it often uses a very stylised way of drawing, to try and bring some energy, excitement and style to the whole piece.
A dilemma with fashion illustration – particularly contemporary illustration – is how to capture both the details of the product with a contemporary aesthetic style that relies on simplification? The type of styles I like make use of line – dynamic/gesture or quirky, and have an eye for shape. But I am also interested in the underlying concept – are images of women and men being promoted stereotypical or new. Given that the obvious aim of fashion illustration is generally to sell clothes, how does fashion itself serve to challenge stereotypes?
My source material for this project is ongoing from quick pencil sketches at airports while I was travelling. These were then worked up as digital illustrations in different styles as part of Assignment 6: Review – iPad workflow review and during my final preparation for assessment.
In the early twentieth century fashion illustration tended to be quite constrained, and also limited in the media used to pencil, ink and watercolour. Most of the illustration was of women. In the 1960s, 1970s and 1980s fashion illustration became more varied in media and emphasising much more individuality. Men were also represented as men became more interested in fashion.
Since the beginning of 21st century there has been a widening of both style and media. A lot of fashion illustration does tend to still have a very similar feel – glossy and photoshopped or Twiggy-like long legs. But there is a much greater mixing of ethnic styles, use of black and white.
The advent of digital software has made fashion illustration, particularly Photoshop, possible even for people who cannot draw figures. But a lot of images on the Internet are (in my view) samey over-glamorised images without much ‘soul’. The reason I have not been much interested in fashion illustration so far. But through a Pinterest search as well as Google, I found quite a few styles that I found innovative and interesting to follow up.
In my own work I am particularly interested in work by:
Tobbie Giddio works with dynamic lines and shapes, often using Japanese ink techniques or charcoal strokes. These capture the gestural line of the figure. However some of her more detailed coloured work I find overdone and formulaic – not much of the clothing and model left under the artistic panache.
Tiffany Ju has a more sketchy style in some of her work, that captures details of the pose and clothing. But without looking too polished.
page on Behance https://www.behance.net/choonfai
Singapore-based illustrator who creates black and white digital images. These are a bit staged and stereotyped in portrayal of female ‘attitude’ – as in much of the fashion iconography. But I also find them atmospheric.
Strang’s work is very stylised, often with a fairly dark edge to it.
Some of his work is in a style like Ronald Scarfe. Other work like the pants illustration below combines humour with clear information – as an innovative way of combining photography and illustration.
Sophie Griotto works digitally, collaging images into carefully crafted figure shapes that reflect the style of the clothing. Using location images, rather than just patterns of textiles, creates a status image – who the wearer wants to be.
I also very much like the edgy art of Herakut. They also do some fashion work.
Herakut style for fashion
Other sources include:
LineArt on : https://www.pinterest.co.uk/pin/389350330264711171/
Showstudio artists links:
I am also interested in possibilities of adapting styles of artists like Egon Schiele and Basquiat. Also the potential of adapting Islamic, Japanese and other calligraphy styles. In preparation for the project I looked particularly at:
I also consulted a number of books on technique and You Tube videos like: Fashion Illustration Techniques: Zoe Hong
Hijab Illustration: Asma Shririn: https://uk.pinterest.com/asmashirin7/hijab-illustration/
For Amilka’s other non-Islamic fashion illustration see her Flickr page: https://www.flickr.com/photos/amilka/
Does courses in fashion illustration and has You Tube promotional videos by students and tutors.
Dubai black pencil, wash and crayon (woman)
(woman) Interesting fantasy – but not exactly modest despite the face mask!
Demo video for the course
Watercolour illustration using watercolour brush pen. But more western than Islamic.
Indonesia (woman) has a whole series of videos in the same style.
Farida Ridhwan (woman)
A very thorough set of courses on Fashion Illustration
Using Croquis figures
Drawing figures: shapes and proportions
Drawing figures: fleshing it out
Different approaches: men and women
Female figures female
Side figures: male
Front view faces
Hair: colour pencils
Drapes and Folds
source Wikipedia and Google images
Laurence Stephen Lowry (1 November 1887 – 23 February 1976) is famous for painting scenes of life in the industrial districts of North West England in the mid-20th century. Many of his drawings and paintings depict Pendlebury, Lancashire, where he lived and worked for more than 40 years, and also Salford and its surrounding areas.
He developed a distinctive style of painting urban landscapes peopled with human figures often referred to as “matchstick men”. He painted mysterious unpopulated landscapes, brooding portraits and the unpublished “marionette” works, which were only found after his death.
The discussion below is edited and extended from:
At the beginning of the century fashions continued to be corseted with an exaggerated S-shaped figure. This can be seen in the oppulent illustrations from House of Paquin.
A period of rapid change. Styles start to become more natural,more practical, less restrictive clothing. During the early years of the 1910s, designers adopted a new approach focussed on fluidity, and started to promote the use of lighter and softer fabrics in order to make their creations increasingly free flowing.
The biggest changes were during the First World War as women were called into factories and offices and fashionable dress was simplified and shortened.
Many now-anonymous dressmakers and designers like Florie Westwood produced clothes in towns and cities across the country.
aption id=”” align=”alignright” width=”365″] Florrie Westwood, fashion design, London, 1919. Four different designs for winter coats emphasise the new fashion for the linear silhouette and ankle length designs. They also show the new shape (higher neck covering and greater shoulder coverage) of fur collars and cuffs. Vand A Museum no. E.1538-1977[/caption]
After the war changing attitudes to women were reflected in fashion. Younger women cropped their hair and wore skirts to the knee, with simple, linear dresses that gave them a boyish silhouette.
Norman Hartnell (1901 – 79) famous for lavish and romantic evening and bridal gowns. Introduced the longer-length skirts that would mark the end of the ‘flapper’ era. He produced designs for royalty,
Hilda Steward: Nothing much is known about Hilda Steward apart from her drawings. Like Florries Westwood she was another anonymous dressmakers and designers
Following the crash of 1929 and the Great Depression, new, more down-to-earth attitudes forced on the world offered great scope for a new simplicity, as encapsulated by Coco Chanel (1883–1971). In Britain, fashion became more eclectic but also more feminine and graceful and, by 1930, the ‘boyish’ look had disappeared.
World War II had a profound effect on fashion and it became regulated, militarised and framed by government decrees. But after the war, even under rationing new designs
The New Look: Christian Dior
‘I designed clothes for flower-like women, with rounded shoulders, full feminine busts, and hand-span waists above enormous spreading skirts.’ Christian Dior (1905 – 57), describing the impact of his first collection in the Spring of 1947. Dior introduced hourglass silhouettes and luxurious fabrics, softening previously boxy shoulder pads and cinching the waist for a pronounced feminine look.
Key designers were: Marjorie Field, Renee Gruau and Bernard Blossac.
My favourites are the dynamic pencil and watercolour designs of Blossac. Bernard Blossac (1917-2001) was stationed in Paris during the German occupation. He regularly drew for Vogue, L’Officiel and Harper’s Bazaar. But little is known about his life.
For more Blossac designs see:
For discussions of influence of Japanese calligraphy and abstract art on fashion design of Gruau see:
Often associated with the rise of youthful, ready-to-wear fashions, the fifties were nevertheless a prolific and successful decade for the fashion ‘establishment’ as embodied by couture houses and traditional dressmakers. Fashion illustration continued to flourish in the plethora of magazines published at the time.
Sigrid Hunt (later Roesen) was a fashion illustrator and editor. She came to England from Berlin in the early 1930s and worked for prestigious publications including Vogue, Tatler, and The Sketch. From the late 1950s to 1971 she worked in Germany for the Sudkurrier Welt der Frau and Die Mode.
Jean Demarchy (dates unknown) was a 1950s fashion illustrator who worked in soft pastels to create romantic, abstract, images of couture.
However, the privileged status of fashion drawing faded rapidly during the 1950s, and photography soon gained more prominence in post-war magazines that wanted harder-hitting imagery.
The ‘Swinging Sixties’ saw the emergence of a new youth market. The mini-skirt was introduced by Mary Quant in the late 1960s and continued for quite a while after this. London – not Paris – was leading fashion.
Mary Quant (born Wales 1934) gained a diploma in Art Education from Goldsmith’s College, London. She devised eye-catching window displays to attract customers. Her low-priced clothes were made up of simple shapes combined with strong colours like scarlet, prune and green. Famed for popularising the mini skirt, in 1966 Quant was awarded an OBE. In the early 1960s her designs were bought by the chain store J.C. Penney to be mass produced for the American market. The Quant label began to appear worldwide on accessories and make-up.
The 1970s saw the evolution of fashion into a proclamation of individuality. Fashion increasingly became the concern of men as well as women.
A prolific and innovative designer, John Bates (b.1938) often incorporated metallic, plastic and transparent fabrics in his creations. He is perhaps best remembered as the designer of Diana Rigg’s wardrobe for the television series The Avengers in 1965.
A graduate of the Royal College of Art, Zandra Rhodes (b.1940) became famous for her prints on chiffon, and her use of flamboyant, bright colours. Her designs were considered too extravagant by British manufacturers and she set up her own retail outlet on Fulham Road, London, in 1969. Rhodes’ extravagant appearance and style often attracted considerable publicity. She is credited with having introduced Punk fashions to the fashion industry with her 1977 collection entitled Punk Chic.
Bill Gibb (1943–88) was a fashion designer whose creations defined the 1970s look. He opened his boutique Alice Paul in Kensington in 1967 and first designed for the youth market, with clean lines that bore the imprint of contemporary trends. In the 1970s, his style developed along eclectic and romantic lines inspired by the hippie scene and by medieval and pre-Raphaelite painting. His romantic aesthetic was less successful during the 1980s and he presented his last full collection in 1985.
The increasing profile of women in the work place required a new fashion aesthetic, and the decade witnessed the emergence of ‘Power Dressing’. Wide, padded shoulders became fashionable and women’s clothes were inspired by masculine fashion and tailoring traditions. The period also saw the display of lavish evening wear, as exemplified by the opulent dresses of Oscar de la Renta.
The London based fashion design duo, Antoni & Alison, are Antoni Burakowski and Alison Roberts. They met in 1982 when studying fashion at St Martin’s college. They are known for their eclectic and playful designs, including ranges of slogan and vacuum packed T-shirts.
Manolo Blahnik (b. 1942) is one of the most prominent and successful shoe designers of his age. His creations were famously immortalised in episodes of Sex and the City, and his name is now synonymous with luxurious and exquisitely designed shoes. He was awarded an honorary title of Commander of the British Empire in the Queen’s 2007 Birthday Honours List, for services to the British fashion industry.
These designs are for ladies shoes, for possible production by Zapata Shoes Ltd, London, 1980.