Pen Casttd Mette oa teed cast Pe oanenc leet repare for a career in fashion, series of interviews with indu Beecincs AC UC Pe tats) Comet iorcatts to range building and Moremi tte) Perens cosctcrd th traditional and digital, Tiere Ones ey cette! on portfolio presentation andBethan Morris FASHION ILLUSTRATOR Laurence King PublishingINTRODUCTION Whois isbookfor 6 ‘what isin the book? 6 1 INSPIRATION Discovering sources of inspiration 10 Researching themes 14 working sketchbooks 18 2 THE FIGURE Drawing frome 24 Templates 32 ody proportions: theory an practice 40 3 ARTISTIC TECHNIOUES Art materials and equipment Colour 96 Fabricrenderingand pattern reproduction 60 4 PRESENTATION FOR FASHION DESIGN Mood boards 68 Design roughsand range building, 70 asad specication deawings 76 Foshion-design presentation 78 5 HISTORICAL AND CONTEMPORARY FASHION ILLUSTRATION “The oginnings of eshion istration 82 ‘CONTEMPORARY FASHION ILLUSTRATION SHOWCASE 93 6 TUTORIALS Hand embeoidery 160 Palnting. 182 Draveing with nk 164 collage 166 Computerized machine embroidery 168 Adobe lustrtor 170 ‘Adobe Photoshop 172 7 ‘THE FUTURE: GUIDANCE Portolio presentation 176 The future: makingehoices 100 Inverviews 189 Stephanie Pesakof— istration agent 18 David Downton—fashion illustrator 186 Iyslane de Royére—trend forecaster 190 Jefry Pulvimari—commercal fashion illustrator 192 Further wading 196, Tae publications and magazines 199 Usefuladlresses 199 Gissary 202 Index 208 Pture sources an reds 207 Acknowledgements 208Phen 2005. Lawerce Keng Pblsing Lit “remoral it o thesuthr ha ren sited ‘ry ay mea ston o mecha. \sow0:970 956694476 eso Ovi Tanai ring ‘Petar verry sua ra Pter Kat accor Rebecca Atrio.INTRODUCTIONFashion-Hlusraion tds tine the shoe of bookshops, mingazines often ustrate features rather than use photographs and illustration ia popular medium for ‘eshian adversng The artf fashion illustration once aga vogue, but will ‘hs rend conte? The asi mast be ys In an ce ofinerasingstondandicsion ‘ad automation, we yarn forthe indlldualty preset he new ten-seting Imge-makers. Fashion lusraors who experiment sklfudy with urusuat media ‘ar innowntive design are wary welcomed. While fashion istration continues ‘0 develop and oer fesh interpretations ts place in the future commercia wort issue WHO IS THIS BOOK FOR? Forthe purpose of this hook the term "fashion flustrtion sre range of artwork create by fasion designers and fashion ilustrators. Under the umbrella of fashion ilustraion, this book foeuses onthe fundamentals of fashion drawing and presentation throughout the design process. As the fashion design student must present fashion ideas gain employment on graduation, Fashion tysiraiorexploresthe sills required fo create an elective portflo. Imaginative Reavers a wide research diredons are revealed, swell show tolls fashon eas, ho to represent garments technically and ow to compile mood boards ‘hile Fasbion isto provides valuable knavledge base forthe fashion designer. many succesful designers only design cles. iseommon for such designers to employ fashion iusrators to present their collections and promote thei labels The fshion stration student's pordolio wil therefore be geared towards advertising to brits roma variety af clients, so Fashion Mustator eveals how o experiment flecively with color, howto se art materials andl equipment, al howto selec the appropriae artiste sty, earaeter and med fora particular cient. ‘Whetteryou want tobe «fashion designe ora fashion lust. the most Important skill 19 masters draeng the human figure: Faso usar ded practical chapcerto the igure that should be refered to regulary oughou your studies ‘Covering the brad are of fasion illustration and presentation this book will prove invaluable for oth ashion design an fashion istration students, Many books alm o teach the sls required co iustate fashion and these mans are «splayed alongside showease hooks featuring edited collections ofthat promotional fashion artwork. These categories have traditionally been separate, but Fashion iluraror combines how-to approach with visi overview of historical and contemporary fasion ilustation. By explaining the fundamentals of foxhion istration and presentation, and bringing this rewarding creative process lie ‘with ich deal, Fashion slsmar serves asa valuable resource and teaching ai, [eis usoful for anyone with an interest in fashion, design and user, WHAT IS IN THE BOOK? Enriched by case studies, example Hlstations, practical exorelses anal ps Fashion Master covers al axpees of fashion illustration and presentation. I explores how mists find inspiration in dhe world sound them, and how they use thiinspirtion inthe exeation oftheir work. Raskin Mustrazoy encourages eaders to challenge themselves by experimenting with vated media such as collage, different raving tools, digital enhancement and embroidery. Through this exploration, a Understanding a the figure anl experimentation with different ilustiai styles 1! promotion. esble approach required for working| italy erred hon ameter he ear val ean ‘he work afbath past-and present-day fashion ilustators encourages students ‘aia the confidence and skils to push the boundaries oftheir awn work. In-depth tscussions with leading eon asia. Examining -mporary asin llstrators provide insights that Inspire studentsto think beyond graduation oa eae i fasion ilsrai design "he content of Fashion lusrair is presented in an easly aecessible format wilh each colout-coded eater broken dvs logically into subheadings. Each ‘hapter can be readin isolation and the book canbe readin any order so that the ‘eader can dip in and out to focus on current concerns. Chapter One, “inspiration” expones the dings inspite the neve mind eal how to find rewarding ides, understand visual expression and produce nnovatve fashion fustrations sketchbooks and arwork The chapter begins by iseusing the importanee of ooking for sources of nspracion from whi ‘o develop ideas. With this in mind, the readers encourage to loka the wor ‘vith fesh terest. nspiration for fashion Hustration can be found trough travel ‘ous, elevisin. film, museum and galley visits—even produet packaging. The ‘aed processes for eapturing ideas and investigating themes on paper are also ‘aplained 0 help the budding fashion ilustraror tackle the daunting blank page Arist are invariably avid collectors of wha, to he uniniate eye took ke Junk. Chapter One emphasizes that accumulating anything and everything oT interest sa fascinating way to buld an leas bank fr future designs or artwork intron r‘Compiling ideas ina shetchbook aso an essential part of both a designers and an illustrators development Practical advice given on completing useful sketchbooks that providea source af ewarding inspiration ‘Chapter two, "The Figure focuses on ase drng sk, proving a slid ‘understanding f anatomy and the physical structure ofthe burnan form, Trough saseres of observational exereisesthe reader ears to draw the nude and ciothed figure from life and photographs understand correct proportions and daw features ofthe body accurately The use of template and the eective exaggeration ofthe proportions ofa fashion figure are also explained clearly. ‘Chapter Three, “Artistic Techniques’ ghvesa technical overview af how vo use art equipment and materia experiment with colour and render various Fabrics This guidance is visa enriched by a series of informative sketches and relevant fashion ilustaions ‘Chapter Four, Presentation for Fashion Desig’ reveals how fshion istration {suse inthe design industry: explores the process of producing design roughs to build feshion ranges. talso explains the purpose a speeiiation drasings as and mood hoards, and thee significance in fashion designers portfolio, Chapter Five, “Historical and Contemporary Fashion tkstation,deselbes the ‘social journey of fashion lustaton over the last 10 years. The ustratve ses ofthe twentieth centurys most inflenta illustrators ae discussed by decade Ilystcator f today inevitably look to the ast fr inspiration and this section also features work that demonstrates this synthesis of past sys ad modern ech ‘Thesecond part ofthe chapter showesses work by 36 leading international fashion ‘iysrators om 14 countries Each usta defines his or her work al ares bbyanswering a series of intervew-stye questions. Al offer intersting aves and Inspiration co students who ate thinking of following sina paths (Chapter Sis, “Tutorial explains how the llasieive style indent nthe previous chapter canbe realized though series of step-by-stp tutorials Ts iter encourages te wader to build fashion Hustrations in tage, experimenting new techniques. The utara focus on collage, embroidery, traditional panting and drawing methods and digital manipulation, Finally Chaprer Seven, “The Funre: Guidance’ takes the reader through part ofthe fashion illustration journey by outlining effective portalio presentation final techniques, There is also instruction on sll presenation, interview cehniques, applying for further education and embracing a carve in fashion illustration, The ole of che ilkstation agent is clearly described and other indus specials speak exclusively about thei fashion-llustration eaters, David Downton offers Advice on capturing the magic couture shows with pen al ink, Lysiane de Royéte ‘of Promosty describes the role ofthe fashion illustrator in publications forecasting funure ends, a JetfieyFulvimar describes how his doe-eyed gts have woos! Madonna and are taking the fashion world by stor, ad we se examples of is highly successful commercial rout packaging. ‘Athe end af the book you wil find further reading guide, ast of ade publications and magazines sell addresses, glossary, anda index, and !ddion the picture eres, whic include contact details forthe used artistsThis bok ve a so ronan on at axpocs of fashion tsa, ba is ‘onlya guide to elp you on your journey. Sometimes embarking on that journey {sthe hardest part. Creating something new from scratch isa dawning prospect {forcny assis This caper wil help you ensure tho! yr porli stands ov ‘om the eed. ow wil discover howto find inspiration aud ows DISCOVERING SOURCES OF INSPIRATION Amertcan palates George Hellows (102-1925) once state, “The artists the person ‘who makes life more interesting or beauriful, more understandable or mystevions ‘orprobably in the best sense, more wonderful” This sa tall order forthe at With sch expectations you are not alone i yofeel daunted by the prospect of creating artwork, and not the nly ane who finds thar to knove whore 1 bet. To help you to discover a starting point this chapter reveals hse o find aspiration, howto make visual use ofthe word aroun! youand how toapply your observations in creating Jnnovatve feshioniustrations, desig and arwork ‘Where exactly do you ook fis praton® As Bris designer Sr Paul Smith says: “You an ind inspiration in everything... and fyou cant, you'e net looking properls0 look again” This sod advice. lspiratian fr erative srtwork ‘everywhere. Begin by wandering around your home, loklngat it with Fes eyes You wll he surprised how mundane, everday objects suddenly have new meaning aid potental The old wallpaper in the sing oom cout be a good backgrownd for an ilustracion, oF «photograph of yoursister may supply the perfect fashion figure sithowette fora template, The ilsration om the facing page fas been dren dieetly ‘nt o-fashloned walpaper ‘When you open your eyes to the word you will discover that it ix vesting with Potential co trigger your imagination. Dnt be puto you find that your dens alway eit somente else. The tra is tha ow ideas are entirely new; as Palo Picasso sad: “Everything you can imagine is eal” Humever en you bring the ide your own persona esponse, you provide an origina interpretation, Likeall artists, designers and ilustrators look for sauces of nspiation eo develop their work Focus on absorbing new ideas he time, Head a varity of books and rmagavines familiarizing yourself with interior tends, se and Mfesyle etry, aswell as fshion, Theatrical costume and sot design canals stimulate interesting leas. Never be without camera oe sketchbook o capture ad record inspirational scones, objects a people Experiencing other environments trough wave stimulates creative ignacon and need not invove the expense of going overseas. fou ive in dhe iy, vs the ‘countryside, and vice versa. you aeucky enough otave abroad, visit local markets and communities, observe traditional eostunes and everyday clothing eat new fonds and ecognize cututaldiflereces hy embracing the experience, yo will ome away rom your ep witha wealth of nap ‘Keep up co date with the news and world event, ekevision and lm releases, Monitor changes and behavioural shits in big cities around the word, wating for new nds in eles sues as New York, Lond Tokyo, Parsandl Copenhagen. For ‘example, how ight you apply the ren for kiting als in New Yorkor permanent spray cosmeties (hereby colour are applied permanently ikea tattoo) in Tokyo to your artwork? And never underestimate the impociance of isting galeries and museums. No matter how seemingly ieelevant to ashion contemporary are exhibitions nigh sometimes seem tis worth visiting them, ten the exhibition you Teast expect enjoy elles the mos inspiring ressus. ‘i museums, too, wealth of inspiring artefacts and memarabia awaits your ssi interpretation. Nostalgia for the pas will aways captivate us In fashion, Torexample, today’s garments date quikly yee ygone ers are aly a source of inspiron, Every decade ses a revival ofthe style of pact decade, I soem that issecond nature for uso draw from the past ilustate che ature Asan ats, designer orilstator yo ote alwys open to visual simlation in nal dy to-da if, Evora trip to the supermarket can awaken nev ideas ss you Took at the variety of vibrant packaging onthe shelves Your journey home night take you past architecture, landscape or gardens whose intriguing shapes ane ures trigger your imagination. Your though might be awakened by listening 0 ompeling musi, an image n'a magazine might inspira new idea, an absorbing ‘leviion documentary might actuate your creative energy ora fevourite poem injure up engaging imagery. This type of inspiration ial around you wating to lscovered COLLECTING INSPRATONAL TEMS st ge invariably avid collectors of what tothe uninitiated eye looks lke nk: \cumulating anythingand everything ones sa Taseinatng way would 1 ides-bank for future design or artwork. Keep everything that captures your imagination, asyou never know whens might be useful in the fore. Argemenss bout dhe amount of eluter you possess might accu wit hase who share your ‘ome, but stand your ground! Thisclutter could one day make you a Famous a ‘hink Tracy Emin "ted. Art materials, unsisal papers, wrapping packaging and raps fabricare worth storing as you ray well beable wo atizether in yourartwork In Chapter Fve you Wil ind the work of Peter Clark, who uses found papers, suc as maps and eigarete packets, o crete delighulellaged fashion ilustrations People colecall sors of unusual items, ether because they get pleasure fom looking at them or because they can see erative potential in them, Many ilstetors ook for interesting stamps, cigarette car, key rings, handbags, memorabilia calendars buttons and soon in ear-boot sales, jumble sles and city shops They thn put theirown orignal hn on the ideas generaced by their collctons. The trained eye can spt artiste potentat in almost anything collection af bangles bow, fr example, makes a marvellous starting point for fashion illastration, Look closely atthe colours shapes al details an think how they oul be incorporated moa pee of work Books forma particularly useful collection, providing a constant ad vied source ofnspiraton, the Further Reading ide on pages 196-98 gues a st of fashion and fshion-ustratin titles worth nding, Bat remember tt books ‘mall sorts of her subjects might spark ideas, to. Look n secondhand bookstores For olde, out-of print tess wel keeping to date with now tes, broadening your collection so that ioe an ever-expanding varity’ of ideas Collecting books scons swath becoming familiar wit your local ibary ust browning {rough the shelves in peaeetl envionment can bea stimulating proces. Kyou take a sketchbook along you could even practise making some ubservationa gure ‘ravings while you ar choosing which book ta bona.RESEARCHING THEMES Theres no doubt that one ofthe most daunting aspects of creativity forthe ats being faced witha blank page. The prospect of plucking new ideas ou of thin air and uriving at an orginal atstie soliton ean be nnerving. This whys important to develop a knowledge base rom which creative ideas ca go Alert Hinstin said hat “imagination is more important than knowledge However before most artists can begin ta produce artwork rom thelr imagination ‘they nee co establish the knowledge base from which they will work. The smplst ‘starting point fortis sto sleet them to investigate 1 develop. This ean be anything that interests you, fom an antique fapanese sik fan co afi rt on ai Statin walls—the range of inspirational resources in the work is endless With rich co stimulate your imagination, is easy to ecome indecisive, The key is to be selective, only choosing temes that uly inspire you. Your chosen theme must continue to hold you attention while you explores creative elements, ‘good starting pln in dhe investigative process so form ait of words that are associated with the theme. This is known as "mind-mapping” of “ra-storming A buttery thome ts explored facing page) by listing the words tha spring mind wile concenuratng on the image odes, butter The words create a narher bof research avenues to filo the ial subject ofa utterly having weth ofassclattons, with almost every word capable of inspiring anew investigation “The images below shove how theme can asa be investigated artistically, Notice how che butters have boen used t create repeat pacers. The textute ofthat wings and the symmetrical pattems across them have been represented throug painting and drawing. Colour studies have heen made of many beter varetes, The popularity ofthe butterfly as decoration in fashion hasalso been emphasied Thisexploatian showshow a butiesty theme canbe used to inspire fashion signe as wo asthe fashion ihastraors who ilstrate their garmentsup he bachroind kG NSPRATION ven you have Found a dheme tha interests you, explore it farther to discover your n personal arte response, Kor esa, lok sey the paleans textes, and colours in an image that you find appeating, then experiment by variety of mein and techniques heme. The starting ‘pradueing and interpreting hem using: The the images abowe show how simple sto work us ine sa close-up photograph of freshly caught mackerel jon hecanse ofthe many-elements toes for exe lected asa source ye clevelopment. Fr sample. the shapes erated bythe fish eyes were the designer’ inspiration faethe tiers on the shoe, while the reflective colours and Lexutes depleted in the stay holpedthefllustrator decide on the shoe's tonal eanrasts,On 09 pai et sal ntonen rite day es nee yet bet ig WORKING SKETCHBOOK Aaketchbook sa vsual notebook or dan: tia personal response tothe world tnd can assume many diferent gues, varying rom beng porable scrapbook Inwhich 0 collec interesting pieces o fabric or pictorial references, to. book of ebseryational drawings and ideas. ll may, one day, provide that essential spark ff inspiraon.sketehbnok provides yo withthe opportanity to practise design, ‘rng and illustration skill any ime and in any place. You can develop Sigua by steht the pple ou sez ata otal perk, oan ata, ‘even by sitngom a bench in the high tee nl drawing the shoppers. ‘Sketching scenery, suet as interesting architecture also helps to create ideas forsusration backgrounds. Most art keep sketchbeoks in whieh they experimen ith ideas and collet insight imagery Picasso is sid to have produce 170 sketchbooks in his etme. Ne often used his sketchbooks a explore themes and make compositinal stds ‘nul he found the subjet and concept for a larger panting on canvas Like Picasso, ‘you will have numerous sketchbooks throughout your education and eater Some you will us for rsestching specie themes while oshers become eanstant ‘companions fr recoding ideas that will provide future inspiration. Provlucing useful working sketchbooks san essential part ofan art sents “deselopment. Academie design and Mustacion bref often request a sketchbook ‘ontaning appropriate research wo be submited for assessment dell the sketchbook presents an explorative journey around a chosen subject area A working sketchbook shouldbe impulsive, etperimental i i in eonstant use, gam aecurnularon of teas an esearch rom which 1o draw inspiration for ‘design and illustration Sadly, this advice is frequently ignored and sketchbooks are prelaced whose clean pages ate decorated with neat eating ondere sketches and ‘unused material frm presentation board. Generally this method of working resus in teious sketchbooks of carefully planned pages often with Post-it notes acting sa reminder ofl blank pages. y organizing. sketehtook into a preci alum in which he aristaranges experimental work lt dhe end ofa project, ereative spontaneity is often lost. The sketchbook then becomes a useless ool rather than Arich resource for imaginative artwork. The*Hot Metal’ sketchbook esearch feng page) gave the designer plenty of scope to create collection of womenswear. The design rough show how the colours texplors nthe esearch, and the woven, mesa abr experinnts, were ‘noxpreted in the garments, Mucs ofthe research imagery of using soldered ears also reflected in the garment shapes Inspiration fram the research also carses through into dhe fasion Mustaton. Inscad ofthe obvious white pape sheet aluminium was used ay a background foe the attwork The figures wor sketched in permanent marker and pant, withthe clothing added separately Heated copper was used to create a bostice a skirt ‘wile other outs are made up of appliqued eather and dein Topstitehing and starment details were drawn using ver pen. Allo these tehniques, frst explored in dhe reseaeh. dk your sketchbook strate the value of researching and exploring acheme inSketchbooks ae avaiable ina variety of size, Same are smal enought ft into sou pocket fr convenient location drawing, wile the bigger ones canbe used for Jangerscae artwork The paper used in most sketchbooksisa good-quality white re paper. bt you ean also choose brown a bck paper, or paper fora specie vedium such as watercolour or pastels ya durable sketchbook with a hand back and strongbinding Investing skeehbooks that wil last a etme is worth iin years o come your visual studies night inspire you to produce nee work, Keeping sketchbooks also gives you the pleasure ofTooking ack through them ose hove your sills have progressed. ‘These pages facing page and below show how an artist has investigated the teat wether, sn paticula rain ancl thunderstorms. This esearch has 0 ye hoon used for any form af Finshed rt, but the potent fr future work i evident, can ofr tothe sketchbook at anytime for inspiration. Ask yourself and experimental work rom an the ari ork yu might produce using eve the sketchbook pages as your tating palin eoep a ve ay font ign Mktg Sy al Nie Seeching "nn beer cet. hah o ope te sly beer araamy bt paetng ‘he res (Cental fshion ttusiracion and fashion design ite figure. An understating of ho accurate proportions ofthe hunyan body and ws constnctd vita for producing convincing Jashion ilusrasions and garment designs. This caper providesessental nformasion an ave and easy-to-remenr is, tal you ail Fi useful trough you arse career To understand he igure ben the ote, praise he exercises described the lout pages ela: DRAWING FROM LIFE The figure has occurred throughout at history asa centeal deme for exploration: drawing te nude figure from ite hasbeen prtised ina academies for centuries. {Gothing brings further challenge and diversity drawing the figured fom this, ‘he aro fashion istration has developed. Ityouxare rolavely new to gure desing, you may feel daunted bythe apparent ‘complet of te subject. tsa common bee that drain the fgute she hardest artistic talent to develop. How many times have you heard phrases such ac ray faces” oT eat draw hands" In fet, good drawings of Figures are not so ewe as the easiest og. We know tho ayo and Proportions of our bodies so wellthat we notice inaccuracies instantly The elt Isthat unless. drawing Is emarkably accurate itis deemed poor and the artis roses confidence ‘much the most dificult 19 ALits most basic, a drawing s nothing more than a series of marks made ona surface by one person dha apather ean understand, In fashion ustracion, drawing the igure is more about developing our vn sy and creating individual tues that convey personality and meaning, than abou accuracy However this isnot an ‘eens oa fg wih, sy, dspraportonatey large head because you are‘unable to assess proportions correct An ilustrator must understand accurate boy proportions before itis possible ta erate a unique tl. Though drawing we learn wo see We may think we know the human figure lus asked to dseribe it accurately By recording figure on paper, we cana hep bo understand it etter Our drarings vary because we al see dings arent ‘ok with rsh eyes to achieve an honest daring, and never tly on memory shat experience cells you is correct. ree yourself rom what your mind akeady sand draw only what your eye see THE MUDE FIGURE "head human figure mst serve the bass oral figure say and fashion ustration ts impossible to draw the coded igure withou knevedge of the structure ad form ofthe body underneath. the twenty-first centr, arts and stra no ong ten stay anagonny a pan of thei arma ing over. a Sound knowlege of how the only is constructed ea any inerease your perception, When thinking about the figure you may use na fashion illustration, ‘onside the body shapes th ire beneath the clothes. is inspirational to ook ote work of Michelangelo and Leonatdo da Vine! lacing page whose observation ‘anatomy in pen and ink captures the ealty and the beauty ofthe human body "bros your kote of atoms, ssa narural-history museum or eo ‘books to make studies of te skeleton, a the joints and muscles that operate 1 move the hones By gaining an understanding. of how ln mone and wich iste igre drains. derstanding of anatomy allowed Pablo Picasso to base asgniieant snount of is workaround the mide human form. The wotks selected here (this 2: uine important lessons forthe art student. io Nae Women demonstrates Passos economic use of ine, Both women actos i Ibsrmood with deesivepen-and.inksteokes. The nidesae drawn an a coloured background, using only in Femme ne attongé Picasso uses ined mediato create blocks of colourand pater, his experimental approach enelehing the antwork 8 doubrfal hat Messso iced pate, enhancing the purity of line and form, ‘sew what result he would achieve when he started this piece once saying:"I'you ‘now exaetly what you are going odo, what isthe point of ding i ough and Picasso captures wt sears ints top, He ac hapaTHE CLOTHED FIGURE nv understanding of how fable drapes around the body wit for drawing the cathe figure convincingly. ass a knowledge of how seams, gathers, pleats rnd dartsalet the it of garments on the figure. You dont reed to ow tow {o ew tollustate,butit helps be swat af the consteueion of cating, just | ioe to understand the structure ofthe bods Make dealled suis of sedans i lothed figures to bull your awareness ofthe ways in whieh clothes fit and ‘rape an the body before you begin co iustate An importa aspect of ding the igure awareness of is sete in vat (its seting, Consider how igures it int their surroundings and how mel heir appearances ditated bythe scene which they are st, Fousng on scl, ‘omposion and clothing, practise clawing figures in various leations: hilar playingon a beach, customers shopping, teenagers playing football, «couple ining iva café a petson curled up in an armehair or asleep ona sof, employees ina meting, fends watching television, passengers ona bus old ladies “atting on park bench. This type of sketching increases your ability create «sense of perspective. and to dre figures co seal nthe envionments hhysketehing on location you wil alo gain ides for background settings Jo your fasion astrations NEASURING THE FIGURE AND USING A VIEWFINDER |e drawing the ne o clothed figae from le, tbe most ifeue kil 19 master that of eorret body proportions Ta enhance ther skills, many artists sea pene ‘measure the igure and viewinder to frame a model and give proportionate ith ta eight. By holdings pene at aris length and facusing on your subject you can measure wo Fgure in front of you, Close oneeye, then use the pencil point and your thumb markers to measure each part ofthe igure sn ean ta another: You ean also hold ‘ar pencil at the same anges the igure aon, then transfer this angle to your cawing This method allo you to assess approximately relative angles of parts a he body that would athervise be ficult deve comely ‘A viewfinder isa pce of ear a window cut nto ofthe same proportions 1s your drawing paper Hold the vewfinderin rn of ane eye to frame the it \ viewfinder helps you to daregard the Figure’ wider surroundings ad aw nly ‘satis ins he wind ls you to ry ot Aferent framing options for your tur, inelding mare or Fess ofthe setting around the figure. Dy holding peri a ar enh a tig ‘tootsie you can ease th fire viewing a senletomate deve ras yout see om mah ofa e's Specs of oornure by modawe om ed Stospere tothe wrk sg nee ret with varied a when ring sve paste ononnfaper Ops re FE DRAWING The best way to represent gues confident to draw rom Meas often as you an. Many local art cenres or art schools ale ife-drawing lasses Actenclng your {rst fering session ean be aightening prospect. Where wil you sie What ‘materials shoul you use? Wil yu feel embarrassed? Wheve do you start? Many ats advise that in life-drawing classes the best wy to proceed sto view the re Nigureas series fines an! shapes and forget that deve ia person in font of you. Drawing he nude gure she ulimate est in observation and understanding, and demands your fall concentration, so you wl ind it easier than aniipated to dismissother thoughts. To pratve drawing ie eloted figure, make the most of opportunities such «asf or fiends watching television, Most people stay fay tl for about 15, minutes hen 2x Publictransport also oles an excellent opportunity for eapturing interesting poses Aways carry a small sketchbook when traveling ‘onattan or bus, or attending an event where there are oso people to dave Thesketehbook page opposite shows how Francis Marshall, although famous for eouture-suny sketches of Balenciaga facquesFath and Dior. bas always found time to practise figure drawing(OBSERVATIONAL DRAKING AND INTUITIVE EXERCISES Dravrng from ies also known as objec" or observational” drain. age thats ereated to represent what is sen during live observation. 1 Isto show the figure (or object eth exactly as it sppeas. Drawing inthis way 'sabout believing and trusting your visual judgement as you record hat you se, Beto -mbarkng on more elaborate studies ofthe igure try same simple exercises ive observation. The purpose ofthese exercises sto tain your mind to accept what your eyes—rather th Imorpretations-—deem tobe tre, nur preconceptions or yor mds Joak-back” exercise tention onthe figure in font of you and draw exactly what you see Do not examine the drassng once you have started just look atthe igre and "create its shapes on paper. Try not 1o use your ert dgement. Concentrate ‘om he contours ofthe figure and the shapes contained within. This ype of drawing, ‘about forgoting wha chink you know, and lieing in shat you see, When you nok at figure, your bein interprets for you what you should ee. The results ‘hat you may dra the igure as you Believe itt be, rather than how it actualy ooks By checking your dwingeonstanty it temping to comrect what you think are mistakes Trustyour eyes, and you wll produce a truthful drawing"he continuous Tne exerese \Working from observation, make continuous ine drawing the Riguve As you ‘ok a your subject, keep your hand moving constantly so that thetine remains snake You can complete this exerso using any mediums charcoal, pencil + pen. Avid he cemptaton wo ereae accurate deals, such as those f the face, with lat of sll lines, The purpose this exercise to cord al information with one singe lysing tne. The llustations opposite heow lft nd sgh have Joon created using continuous lines. They ae extemal fe images only refines va hit of colour added digitally isa good idea to experinvent with ree-hand Jeong end the computer ereateunkque effects, "he outline exercise uses acquire when lesen dea the figure from fet look past Ine detail concentrate onthe shape asa hoe. Snypltywhat you se, Natening ‘he figure in your mind's ye o that you focus on is outline Lea to pay close tention "negative spaces”—dhe aren of background enloset by parts ofthe igure. Ifyou concentateon drawing these shapes, he igure should emerge sth some accuracy into the foreground of you Mlustatlon. Look at the back view of he figure drawn by Matis (abave lef) The tines ae simply the outline of the pe he ses Likewise, Ossie Clk shows ol his designs with strongoutlines "espace around the Aurea othe outline. Ato ‘Nast of he tine ectmiaue, Mats Nei Sing yt denier ie Oppose tne bins ute ate ieee ee pete, har teon ese an sar nisin ant Toempnasze te haesTEMPLATES an TRACING FROM A PHOTOGRAPH ahroe-dimensional figure. Moreoerifyou donot have acess toa life model atthe ygafigure accurately f of inspiration to begin awr fo gure rom photograph or magazine 0 glve youre starting pon, then “ppl your own llustative seas you develop the arowork, Place the photograph on aight bor. or light racer. or against window so that ox ea se he most important fears othe figure clay. Decide on the lines define the fgutes shape. dhen trace them carefully Use a sharp penell to avoid nes becoming fuzzy and confusing HOW TO USE A TEMPLATE |i you selee photographs from a magazine that gvea clear indication ot body shepesand proportions, your tracings can be used as he basis fo a fasion igure template. figure ernpate is a tool used by fashion designers to help them speed ty the design processes placed under semi-transparent layout paper upon which the designer draws the garments, moving the template along the page co repeat tne ross. The template fs used asa guide ony, When the eles are sketched in, the template is removed and the artwork completed, Depending to heavy emplaces can inhibit a fashion designers creativity a common mistake being ‘lo design only clothes that fi the templates, Likewise thelustrator must bear iy nd thatthe template fsa use tol but a means of eating unique piece bv arawork,Theconstant use ofa template to Inte an ustation tends lead to stilted results Copying a template from fashion illstraion book ss your staring pont for un artwork snot recommended. Often hose who view your work wl recognize the ose Is far beter to create your own figure using the techniques suggested below, CREATING A TEMPLATE Sole one of your wn igure drawings oa sultable magazine photograph, place ‘vit paper oer itand trace the image. Now simplify the drwingto create «lar outline, ensuring te proportions of different parts of the Body are correct elation one another Suggest he face and halts buc donot draw every hwirand eyelash Unless you are adling accessories, the hands an feet sso nee ‘nly be implied. ‘You may adapt the pose fo your own requirements A simple rant and hack view ff ronc-faingfigue wil enable you 1 design qulekly and proesely, bu vary your \rplates so your work does not become predictable. The easies¢ metho is © “develop your frst template, repositioning che legs and arms to create a variety of ses Thnk about de stanee of de templates, oo, The way a gure stand oem select the mood ofa collection. Study modes in magazines and ry o recreate ilar poses and gestures in your templates. Drawinga ine down the centre ofthe \wonplte, font andl bck, ereatesa marker against whic design deals, suet as Dyattonplackts, pockets and seams. can be positioned correc Ia template is oo lunge, team be scaled down by hanel o by usinga photocopier or scanner When you Juve selection of emplaes you could raduee theese to repeat a setks of poses cross page When creating your templates conser the market for your ilsrations oF Josgns Far example, an expensive evenngweat colecton wil nook rghit ‘empltes developed from sive gutes are used as. starting point. Collet a number of templates wit varied los and character. Temples se used san aid wo fread design, but sey canalso be adapted lorthe compute. Sean a template and use ia a foundation for your artwork, ‘dingo with a program tha allows you to make decisionson colour and pattern "5 oe OS OH “Ts ere Hore ema can be sed {atonal en oe anode se Overy ‘iene tedor reste aang a tert Terites for ei ae stay ratte 36 we cueaBODY PROPORTIONS: THEORY AND PRACTICE THE HUMAN FORM When drawing the fashion gure, tis important to know the standard proportions of thelhuman form, as wells bearing mind that people Vay and size. Clothing the body isameans of sel-expression and an opportaniy far eretvly, othe impression created bya fashion istration must be based ‘on careful observations. Fashions change from culture to culture, and from decade to decal, For example re and short, wavyhair was desirabie inthe 1950s, while decade later a thin igure and poke-straght hair was most aimed. The fashion llstrator ten aims to express the features tha socety cumrently perceives as beaut and may chooser highlight these estes tough exaggerated illustration, So, while hod shapes and proportions may vary from person to person and nust keepin mind the essential ‘components outined in the folowing diagrams The cases way to begin your study sean = NECK AND 3 ‘SHOULDERS . UPPER ARM UppeR Torso Lowen 1oRs0 LOWER ARH HAND. THIGH knee Lowen Les Footom an th bh fhe at "TRADITIONAL MEASURING METHODS The Ancien Gress invented an ingenious method of measuring the height ofthe human bod they use the legs ofthe head as aut of measure, then outed the numer of times etd into the bodys total heh, Duving Claslal Greek and Renaissance times, the ea umber was eight, which was the standard fr perfect proportions. thissimple way of measuring ssi used today Tey yours usin, a! engi its approninately ws your mo your boty height from eronn to toe DIFFERENCES BETWEEN MEN AND WOMEN -Menis and womens body proportions dle rea, and men ave generally taller ‘Womens shoulders are narrower and slope dawnvtad, whereas men’ are broad snd fly sright. Women have proportionately wider hips than men who have wider necks, The most common exaggerations in fashion ilustration are forthe female Figure to be drawn wit longer legs and as as, and for the male ty have bond shoulders and muscular toned arms. The fllowing diagram demonstrates ‘sel fet for the illustrator to keepin mind when drawing the gureoui vay Theyer ote Theewrsandeyesare tft vaca oe et inte cane IMinwiivescralte: lew te bdr aipatin act tat acon were neta wees theeciews uit shal sae lepine ow creaiahpet n) Tremere i ita \7 at [NGGERATION FOR FASHION tough tis important o gain thorough understanding of hove the body is “constacted,afshion illustration fot always an accurate representation of ea agerating some aspee ofthe igure ean add intrest and character to de work Fishion designers and illustrators often elongate the figure give more elegance snd yrce. To elongate fashion igure use the editonal measuring technique but Increase the amount of heads used inthe bod length. For example, a igure cout bested to ten or more heads in height When sizinga deawing by ipressing ‘hebeght ofthe fgut,fshion listers usualy emphasize the len fee legs keep proportions relatively sensible, caleuat the leg as making up two this ‘other than hal ofthe tal height. The step-by-step exercise onthe following page ‘ovehes you howe te exaggerate length and fhe all igure ona pe Use a Higa hom one of your ie drawings or rom a magazine for the exercise rather th tent cae ows genera a donned aon Kee Vastation decade after deca, tay be worth exploring the very technique thatine DECIDING ON A POSE To best promote the garments in afishion illustration, conser thestanee ofyour aretha manson i Tho way aperon sande presses rch about tet ood oremodons,_SARENSE Maen. The eae Ne example a gue wilh eaditedandands behind toe backinaybe tought rome Toya varat ema el rongorbold Think carefully abot the peo fashion you spe it your own olleston, ate you illuseaing fra high-street eothing are promoting Fr inane tt nes he cect pany or designer with a paricularcllent base! This wil help you to decid ula collection of poses rom aayazines that you can refer ofr your work lect mages fama range of mo ines, inehadg fashion, photograpty and onlsmagazines-you may be requeed to draw action poses fora spore ‘ange Look back to, your own ie drawings an! photographs far inspitaion NOT SPOTS—FACE, HANDS AND FEET hiustrate chem? Pesaps you draw the igure of the p 1 tite that one sal ine nthe wrong place can spi an otherwise image by drawing tint you tuck hands int pockets chat you nee hioniustration, but the best stators avoid dhe vempatin to hide these ‘imal features, By practising unil you can approach these \veton, you ilstrations will gain in diversity and sophistication, Indieating these hotspots authentically ean bea canting peop oe the .aginaively,ather than always to represent them correctly On the jproech io rete an stration that you re happy wthAdvice for drawing eatres + Suggest the features and iin doubt, dont craw ther ia * Features are vsaly smaller han you expec. for example, anand can cover te face easy + Eats an eyes aa in tino wlth each other between the eyebrows andthe nose + Eyesare atte halfway point of the nead length-—it is a common mistake to craw ther ier uP + Most commonly nthe centre ofthe face ‘eyes are sel one ey-with apart +The ris ofthe eyes ena party ‘covered bythe upper eye creating ‘shadow onthe eyebal + Eyelashes on bots Become progressively ticker toward he outer orners ofthe eyes although the bottom lashes are shorter +The upp ip often appears in shag asi curves intonards the teeth “Tha bttom ie usually fle than the top one + Lips steth horontly around the curving face, soo nt raw them inastroignt tine + Rather than oraw each ndvcua tooth suggest teeth by crawing a shadow between then +The nos starsat the foread ana has the cartilage teains + Marl up of planes that form the ies top anatne base, tne nose nasal at te ttom and wings on eter sie here the nostri fare nee- RTISTIC ECHNIQUESStoning in htop baer cous (nce you ave stare fining inspiration, searing hemes, sing sketchbook ‘ad pracusingfgure drawing, you wit be keen to experimen with diferent art material ahs haper you wil fn on ach art ceria a wse a acho parte eet, howto convey fare easel an ow seat colour plete Len professional arias can find these aspects of Wlstration challenging To provide ‘auf ference source, he chapter divides into setions shat you ean dip ia and ‘ou of esi 0 fed the information you now ART MATERIALS AND EQUIPMENT. The ange of materials and equipment avilable illustators and artists today Isvastand can bea litle awerhelmingat times. Searching for appropriate materials inanartsupplirs can feel ike being suerounded by iesiibl confectionery in aswootshop. To the eeative eve, everything loks tempting and the cotect choice ‘of media lic to make Finding a medium that suits your own particular method of working:ind your styles the best way to proceed. You should fel confortable enough with tto rode work confide. Consider your peesonality when selecting your artiste tools. you are evel, meticulous perfectionist you may be mos at ease with Preise art materials such asa pene or pen. Ifyou have a more energetic, fstand- Furious approset to iustration, yu may’ enjoy the freedom af ol pastel, chareot ‘or paints. Experimenting frequently with new materials wll encourage you tobe ‘more innovative in your work. Brand-new pos of ink, sharp, colour pencils and acrylic tubes jus waiting tobe squeeze may lok invig but, a hegney,they alkofhold an element of ase. The next section eovershow to use at materials And equipment is fashion usration so that you can make your selection with confidence PaPER Paper isthe frst clement consider when beginning a fasion Mustaton, There remy types t choose from, availabe various colours an thicknesses Al can heused asa surace on which to work orat.a material rom which to creates collage, CGarerage paper ise of the most hase, commonly used papers a issuable fordraingand dry artwork, It isnot generally recomended for panto hes renewed work, ast made of wood pal, so that moisture causes to buckle Itcan he made suitable for painting by soaking it wlth a wes sponge and stretching it aver Adrawing board, Secure the edges with brow guin tape, then allow the paper to dry "horoughlsbefore beginning your panting Layout pepe fine, sem-opaque paper tat allows you to see an image faindy beneath Suitable for oughs, marker drawings and colour ests, it isolten bled resistant so tha colors lo not ran, The eranshnceney af avout paper enables you to tace overt produce one rough fom another lt is alo suitable fr mounting ‘onto background papers and cards for fason-presentation purposes, ‘Untike smooth eaviidge paper, pastel paper has grin ning eheoogh i Some art materials such as pastel and charcoal pick up the gra, and the artist can exploit thiseffect inthe Mutation. This papers fen tinted in tonal ranges upon which black: charenalilustatons look partculryeeerive the bckgroand colour sxldng increased intensity. Tracing paperand acetate ae clear sheets that are alsa excelent or use ‘on preseatatian bats You eat photocopy images ont them, then overlay the lmages—the transparency ofthe sheets means that the image bencath i natup obcurd comply Drawngand plningdecyonacetniecretesaunique ir tt with shining throng the image hire vpn per ne ec rotor ppersre applied mary weights andterure,Cood-qulty _‘teandoetustocenettoctain les Whitby to absorb quid waterclourpapercan be sed with many Pestana ater psten st me, sch ink, pains or waersohable mayan, Tissue pape card, coloured backing prayer. wrapping pape wolfpape: sue @ rappersand other packaging can allie used in fashion illustrations Use your = imaginations to how incorporate them into your work 2 encus a ry atst—even alters, sculptors and prinimakers—benefi fom being skilled g \ clawing with a pene The pencil is a convenient and expressive means of a ‘volving composition and of econding visual information quickly for translation no anather medi later an. Most works of at begin with pene dasing tel pencils are available erin te Form of rational yxsl-csed pis Ina mechanial pop-up style The advantage ofa mechanical pene is hat Ci svayssharp. You can alsn select variety of ead thicknesses for this ype of pene! soging from 03 100 Pencil leads are graphic and they are made in several grades ong fons hard (to sft (B—the “B® stands for black}. The hardest make fine v-grey lines and the safest race thicker, black lines, The grades are usualy \csgnatod as follows: BH, H. 7H, 6H 5H, 3H, 28, Hy HB, 8,20, 3B, A, 38, 6B, 7, 15,0 and F (which stands for fine point ate midway between hard and sf. Soft pencils are dea for rapid sketches and expressive Yne-mictone drawings, hey work especially well on textured paper, but take care when using them, because ey smudge eal Hat pencils est suit artists with confident, clean and accurate sl of drawing, Try experimenting with several grades of penel to eeate a ih teraction of ine and tonal contrasts in your fashion illustrations. Many Tlstators \d teste and det to fished painting, especially watereolours using pencil raphe sticks are made of compressed andl bonds graphic. They glide across i page to produce the boldest and most expressive drawings. Yu can hang the vars they make by using the point side or the Ratened ele af the teksft te Teas heeft of smupedmaew, “The watersluble versions prodice bea ser grey washes. Graphite seks axe especially popular for life drawing and elothed-figure drawing because they allow fluid teehniaue CCawed pencils are made from a mint of pigment, clay and iller bound together an soaked in was before being encased in wood. Coloured pencils are not ust a fe drawing medium fr ehildren. The fshioniustrator ean use them (© ‘make a varie ange of marks, wile controling the finished elec. You can use ther like a graphite pent shade aves, only in colo. You can also blend shades together early witha paper stump (a gy rolled tipped paper, eraser or your Fingers. As wit all pond drawing tonal areas canbe built up with hating short parallel ines drawn closely together) or eosshatching a five mesh of evss-crossing lines that buds dep of side). Coloured penis ae particule usefl in the early stages of developing your abilities, because they allow you to build confidence with ‘controllable met, \WATERSOLUBLE ART MATERIALS Watersotuble penile th ‘a watersoluble ingredient in the advantages of coloured pencils but they have ul. This means that you can apply the elour dh Fhucereate a subse watercolour eflet by loosening te pigment with brushstrokes fate. A controllable medium, watersoluble pencils are use for bridging the fp beeen drawing an painting when developing station sls. besa ‘rayons work in the same way as the penis, butare softer and more malleable they create bolder marks and denser hatching, making them more ofa painter’ tool “The advan of bot versal pene nd erayons shat they a easy {cary with you, allowing you to sketch figures quickly on te street or catwalk You can develop a piture further with pant when yu rear 1 your home ‘rst, ifyou so wih,Wn CRAYONS, sperimenting with the wax-resist technique might seem ike eevisitng your ilhood, but it produces some interesting eects. Drawing with a wax crayon, hen colour isan elfetive means of erating textured finish on erpainting with w Jothing na fashion illustration. The wash of colours repelled! by the was bul sks into the unwared paper to leave a unig pat arange your tems, andl dec The mood bourd acing page showsideas fora refined collection based on blue- _taonpl onan of possbe loys for macd on-hiteSpode china. The presentation clourshave een limited toshadesof Sls show that west tpn eu ue and ream, with images mounted ont foum board o give theee-lmensonal sect. The selected fabrics have also been pinned on. Its easy for the viewer to "oa wl place on your mood oor. or exp appreciate the then ofthis mood bos, Ine bones preset the col pats ena ’ promationa ison ilisation above lef forthe elletion demonstrates hw deislons made in the mood-bonrd process can be applied when ilustrating, anni he atist has continued the theme by inking the colour, and by using he same ‘moun hoard frame the illstations. The mood board and Masato show bow ale thinkal eal and plan carefully when presenting your artwork, The final ‘uti (above right seen on the catwalk demonstrates how the dheme moves ough the whoe processopment DESIGN ROUGHS AND RANGE BUILDING shin designers pro ting nye ae series of onnecied dens tha ve later realize intel 1s work pat of individual outfits, they share linking clementssuch ag colour fabri, shape and stings that when viewed together, they crete acahesive collection. When aeolletion shawn on the eatwalkit easy to wonder how fashion designers predace so many new garments. How do thei eas get rom paper co dhe bight gts ofthe fein show, an! how many designs ‘do theycomplete wo present full range? Aso, how do they create the story of teit collection? The simple answer tll hese questions is“carefl planning” ‘Theirs stages of planning should in yorough breakdown ofthe design be Gain an understanding of who you are designing or, dendiying your target ‘market and customer profile Ask questions such as who will be wearing the eothes ‘yo design-—how ld are they, nd are they male o female? Pinpoint the budgets and ree points you are aiing or. sta couture clothing range ora cll ‘high-set store? Are you producing cama ange o oeas ‘isthe colletion destined for Is only when you ave lear om all hese points that you ea ein o design "Remember the lessons from previeus chapters when planning yur fasion range. From discovery of sources ofnspiaton, and the exploration of ideas in your sketchbooks, willolten spring the theme for your collection. This foundation work provides stating pont for experimental fashion sketches, kan nthe inst '6"design rough” When representing your thought processes on paper, forget about perfection a! let your ideas hw fey. Have the confidence at thi stage 0 draw ‘ough sketches without woryingabont mistzkes and bad Indo keep In mind eoreec ody proportions. his way, you are mos likly commit unique ‘eas to paper. Some designers draw ideas onto the Figure temple ot) while ‘hers prefer to design Nat facing page) drawing sdnectly onto the page Find the method that bes suits your personal design style, agai always using cortet body propotionsdesig rough docs not have tobe well exccwted ora perfect pce fart. Faces and igure dtals are no important when designingat this stage, Do not worry about ating beoutflly finshed shoets—the purpose of design roughs 0 assist you ‘om your design journey. As yourskills consiaue to improve, your presentation sy wll develop. ‘When producing design roughs, decide which fabrics and willbe made from. Source fabri by visting shops and contacting factories Tepes yr cm ergnreh ponte | supply via malo For specifi fabrics kokon the Internet Always frarionicenamen seers asamp snd eek tha youtie the way thefabrichandes before busing, tach Sttercesbeinccn hess elr ots, small pieces of your chose fabrics to your designs as you daw, (0 enable youPorat .o sce which fabri and designs complement each other When designing avold vostrayng at, eles fabre tnstoad, se 3s dhree-dimensional, considering hove {will drape and hang on the body Take into account aay embellishments you might (For example, if you intend to embroider or manipulate the fabris, add perimental samples to your design rough The design reugh fing page) shows the differences between the fabriesin both suis leary. This student has dra the texture of the knit using many eose, wavy lines in direct contrast to the smaoth fable of the other garments, which only have pin plied in the ates shadow, To develop your designs, use layout pad Thisisa pad of thin paper that allows ou to ace lens easily. Place & template underneath a page and design over the tp, ‘apting the orginal design but keeping the related template outines, This method ‘working no only saves you time, bu allows you to see the range developing \peatingthis proces of designing over a vemplate encourayesa cohesive collection of designs, At therough-design stage, tar making decisions about color. Designers often se imited pale wher bulng a range so that colours harmonkze and ous ‘an be co-ordinated. The design roughs (below) have been painted using subtle ratercolour shades of creams and browns, with greens and pinks aetingas lights. s you prodice design roughs your das wil ow ike these and your eslgns should be inked by colour and shape, Importance should be placed on the ots themselves rather than onthe figure. tls stage you shoulé no aim to produces polished fishion iusto, rather an image that focuses al attention on Saeeaoae rit garnets vour designs ive ctteton treo a een a reklines change with exch design. To encourage your kas tow like this ry wtiecoedion i The next step i to build your designs nto ange. Asyou selet outfits, you will > design themes running through your choices. Repetition san mportan ool in creating cobesive collection, The designs overleaf show how ‘arations ofa similar garment have been tried. Sleeve lengths vary, and the2 sketching about sic nis on one theme. For example incorporate fl into @ series of garments, ofdesign exper ote of fasion designs from which you can build your range. Te easiest way to make a selection for your range so ly out all your design roughs and choose che ois that ook good in thei owe righ, but ‘which also st well with others when mited and matehed, You may need wo inckudea selection of balanced separates suchas skirts, tops, trousers, dresses and outenear, ‘Acamyplet, interchangeable wardrobe such as that shown below in whieh gorments ‘workin hatmony wih each other, soften the When you have built your range, draw it onto one page so thatit canbe easily viewed asa complete collection. Depending on the ize af your range, you may need ‘orreduce your designs on a phovocopler 0” seanner to i them ont a single page. ‘Tink creatively about how to present you collection at this stage because it s the fist. each new design. Repeat this process ott ar tellingits tory The images onthe facing age shaw varlous inanuncua sve pean th eee ty =ePeseAATN FoR ASO son methods of dsplayinga celleeion. The frst image op) presents the range simple bu effective outfit ine-up. Hakground patterns and colour ois ave subile bat ler emphasize aeobesive collection. The whole collection hs been presented an one page and the sewer an ceuty se haw the cuits together The poses are simple, with various stances showing othe nd the back ews cou he eeated inthe same way on another page of your ofthe germens, porolio. The second image hows oth te hon andl ack views the gamer, ‘nd focuses on the clothes in greater deta. Thefiguteis accompanied by sk allow the viewer a beter understanding the shape of the signs sgrments. Eve the pattern deta the fabric has been phase in he ces. The block of colourat the bottom of the page gives it rounding, ensuring that ‘he Sigur took asi they ae standgon the Noor rather than Noatng in mi-ae.Oye ap eh Onpente bts nek exami of anlage Soecetin sheet produced sn CAO/CAY FLATS AND SPECIFICATION DRAWINGS variety of terms ae used to describe the drawing of u detailed garment specification. Fats, working or technica drawings, spes (or schematics) all deserbe the diagrammatic styles of representing an em of lating, They are 90. ‘dmenstona drawings of garment construction, showing font, back an sie views ‘with echnical descriptions. They sso show design details suc as topstitching trims and pockets. This syle of drawing s mos often use to accompany a fashion ‘usiration, ging the viewer more information about how the garment is made to back up its visual description. We sve (on 75) haw the at interpreted the istration. Without thera, i would be dificult to imagine che shapes that make up the out, Sore designers aetwally work out her design roughs in this way if they Find easier co design ranges at, rather than ona figure, tm order to consider technical aspects as they work. The image acing page, op ll shows a series ‘of flat designs, created on computer, accompanying an usta ‘Drawings for Nas should be clean, sharp and pee. This syle of acura drawing dificult for those who keto draw rely using sketchy tines. Practise ‘rawingelothes from your wardrobe and, to enhance your understanding of your ‘own designs. fom your desig roughs 10, You wl atm about the construction of| ‘gent details by drawing them. In particular, practise drawing more complicated ‘details sch a rouse seats, collar ever, pleat, pockets and unusual sleeves ‘Thesimplest way @ produce a Mao sketch agaement in pene, then dra ‘over the tp in black ink Fortis purpose, buy ase of Fineliness made up of thee Aitlerenc nib thicknesses, Use the heaviest to outline the garment, the medium ine forthe garments sie the details. The working, ‘drawings facing page. top right fra coat have been created inthis way, is sean and copsttching clearly identified on both the font ad back views. detaled sketch shows close-up of the collar constuction ana the baton pesitoning hidden beneath te lapel. Notice that the proportions ae ofa realise boy sizo—scle an aecuraey are important for she purpose of this ype of drawing.and exaggeration Isnt appropriate, In industry and the commercial woud, the details indicate in the Mat are also shown n'a more precise version known asa spec (snetfictin), a schema, Arawing, For this, a garments correct specfeaionsare mapped aut othe last nillnetee. Accurate measurements are added to the drawing, aang with det lou ining, is, dreads, sing an fastenings. A sample speciation sheet sed in factories (suchas the one onthe facing page, below) wil even have meticulous ‘detals about darts pleats, pocket placement, pattern matching, hems butonhokes an pressing, Compiling this information on shoe, witha detalled spee, meansa ‘sample machinists able to make a garment simply fem te information proved Creating the design foun aniston would be alos impossible withthe ‘machinist having to mak eral decisions abou the gartnent construction could ifr from the designers ideas. Specs provide a safety net forall an eliminate the possibilty of ero: They ave also vital in the costing process. From a spe its posible co work out all de materials required to make a garment snd eos is precluction accordingly, Much of this information s compiled using computer system often known as CAD/CAM computer-aided design/computer aided manufacture). CAD/CAMsystems speed up many ofthe manual design procedares and operate specaitsmanufactuting machinery fflelenty. Specific einigs Fequitel tobe a CAD/CAM operator, bit with very deta ofthe garment longed, it shouldbe simple enough fo the garment tobe produced anywhere inthe wor"pom na ‘peor 6ome Lowe get dr cert “eee super ster Sipe nae come Sooyrae Tecootre re eavcc om Ta a8 seers 7 Plc Sn oct ae ‘il 5mm om assem od __feniarsonteon PRESENTATION FoR ASMON 90K FFASHION-DESIGN PRESENTATION ston tall he design work leading upto Jina portfolio, you have p Ihave been vsed to work through the projet, buildin pieces from a design student's tablish some cormmon feecres that ink infaenced the collection designs The same e Pieces. sinilar colour palette inks the artwork, and he compte hs heen sed "oughout. The promotional fashion ilustation daes not require front and back anerhas produced accurate specifications of each views ofthe garments, as the d he clothes s what this illus isnpsle Aternothenoce revies, by weienvs market,HISTORICAL ND ONTEMPORARY ASHION LLUSTRATION 3‘he story offasbion iteration sone of change. rough the Jas centry alone, distinct changes in tustraviesyes,and the popularity af the strata figure. have taken place, Diferen drawing syes have emer enconragd by the development ‘of new media. Fashions haw evolved consent an the representation ofthe asin rine why these changes crn figure has altered dcamastealy. Ths chapter lex, fara, ore significant, hw lls fro the ast stil inlaenceMlustrators work tod THE BEGINNINGS OF FASHION ILLUSTRATION Throughout the centuries, anstshave been inspire by costume and fabsle. Fashion istrtors have depicted the ates fashions, publleiing not only the garments but emi-seventeenth century, the detailed and descriptive thelr entre. As ary as etchings by Wenceslas Hollar represented the beginnings of fashion slustation. By the eighteenth contury, fashion ideas bogan to etelate va newspapers and ‘magnznes in Europe, Rusia and North America The fst engraved fashion plates ‘were published in The Ladys Magazine in 1759 and by the nineteenth century, techniealinyprovements in print meant fasion, and the outward espession of wealth i conveyed, was never out ofthe press. tthe turn ofthe wentieh century fashion lustators wore strongly influenced by art mo ‘Ae Deco and Surrealism, These wee instumentalin determining new sys af istration, During the same period, ats such as Matisse, Degas, Dal and Toulouse-Lauttec demonstrated «keen interest what their subjects wore, ements such as Art Nowvea, Their work also had avast impact on the way tha asions were Masta PREI9005 efor he ten of che vente century, Alphonse Much rnd Chares Dana had both begun to make thet anes for paining beauliul women, and woul {goon to become famous lustrators of fshion inthe new century, Their drawings had a profound effet on the aston af the tie Alphonse Mucha created posters inthe syle of Art Nouveau with swing Noatingand twisting lines and detalled pattems. Muchas women were languid with Mcing har an drama elegance, anal many society wonnen reo iiate thebeats he portrayed in their syting and ces. he same way, bers‘lated the clothes, hairstyles and mannerisms ofthe tallslender "Gibson Gi” ‘sie by Charles Dana Gibson, Gitson st worked with paper cut-outsand sibouctes before becoming famous for his pet-and:ink dang. He ills ivemagazines such as Time, Lifeand Harpers Bazaar ed THE EARLY 19005, The first 3 years oso ofthe twentieth century were the golden years fr fashion ustradon. These wore dhe decades before the photographer and camera tak over ‘ne task of shoving fashion to Ue word In the ear 1900s illustrators sch as Leo Vakst an Pat eb capered the tue spt ofthe new fashion trends and portrayed ‘hem ina inva manner, conveying the mond and hopes of theme The elaborate Ballets Russes andits costume designe, Leon Bast, introduced righty coloured oriental fashions othe world, challenging the subtle shades of Art Nouveau The vivid colours of his drawings influenced fasion for years to ome Though Hakst, enthusiasm fr Orientalism was inttoduced to fashion, Infuencingthe couturier Pal Polret to produce his innovative designs. These fate 1 the colourful fashion ilustraions of Gorges Lepape, many o which wer ine \rawings, highlighted with watercolour through finely cut stencils Tis technique, ‘now as pachotr originated in japan Stenciling is simple form ofpntng thats stlla popular means of adding colour tan Mastraton today. Phar inset book ser de Po Poe eeges epape Tnstecrne Spe stern einen pan soma ND CONTEMPORARY ASO onepo Ties THE TEENS Contemporaries ofthe Mlustrators dlscussed above, Georges Barbera Pere rissa! were French ilastrators working for an erly fashion magazine alld La Gazetted bon tn, eventually aequited by Condé Nast Many ofthe lstrators later went an fo work fo the company’s prestiglous fashion magazine, Vogue. Goong Barbier was the chit lustrato. His style owes much co oriental ballet theatre and thesinuous lies of Art Nouvea He also greatly admired the work of Aubrey Beardsley whose nflence c he seen in arb strong atlines and bold gues. The lustre styles ofthe decade from 190 to 1910 were landmarks inthe development of twentieth-century illustration, Many Ulustations now showed fashions in busy social scenes, ated followed by some of today’ fashion ihastraos, neues Marcus Chin, Ast Deco design als began fe istration, and Cubist geometry influenced the work af iastratrs sue as Chaves Martin, Similar Cubist shapes were revisited in dhe 1980s by fasion hastrators such as Mats Gustalbon and Lorenzo Mattatot The First World War had a significant mpse on fashion llstaton. Printed jouralsand magazines declined aa vehicle for fashion lustaton, but the Hm industry grew dramatiealy. During tis deca mat fashion and costume designers snd im hi the headlines, the most famous beings Rusian-born pater known as Fr, Perhaps est know for his elaborate costumes atthe Flies Brgeres in Paris rig also designed many lavish costumes for American movies Hs ifs ‘bition to become a fashion ilustator ws lle when he signed up wth Hearpers Bazaar, here be conned to contribute asin drawings forte nest 2ayeam,THE TWENTE The Fst Wold War was a perio of great social upheaval which had a dramatic lnluenceon culture andthe arts. The emancipation of women resale ins ne Fomale image that jected unnecessary Naunces of fabec and impractical orate ils Wo ofthe most influential women in the fashion world at thisime were Caco thane and Madame Vionnet. Chane! simple sive, teamed with compulsory ostume jewellery. and Vionne bas-cut dresses de sla new era, Both designers spened shopsin this decade and vent on to cle women fr many m ‘Uni the twenties, dhe Mustrated fashion figute had been drawn with ily realistic proportions However, as anwork and fashions became simplified, angular und linear in the twenties, so 00 di the fashion silhouette, Mustratins now featured longer and leane figures saggerated fashion figures appeared inthe sok of Eduardo Garcia Benito, Guillermo Bolin, George Plank, Dugas Pola, Nelen Dryden and job Held rn is many memorable covers for Vogue the vwendes, Benito eaptured the esence of the strong, emancipated women that ptomized the decade. His gues were elongated and somewhat abstract in syle, appearing in graphic designs enhanced by subtle colour contrasts The "apper” became an ionic figure ofthe roaring nwentes: The ertoons fon He Je during the “zn age” aorned the covers of he New Yorker ul Life magazine. His style, featuring funny dancing cartoon characters with bright aekgrounds an humorous scenes, stil mimicked today, and ‘contemporary Musto such a So ln thei fashion iustrations to, ter and humourTHE THIRTIES The beginning ofthe thirdes sae fashion magazines traly utilize fashion Hustaton, realistic feminine form and drawing ines were softer, tetural and curved. Anew romanticism was reflected in the ilastraions of Carl Erikson, Marcel Vertes, Francis Marsal Ruth G Crt Erikson, known a Erie, emerge in the thirties as emarkable draughtsman ‘who would heeame an infantil fashion ilstrator forthe next three decades Exe trom, René Boub- Willaumez and Cecil Beaton, represented every detail of garments with the lightest of brssteokes, An advocate of ‘observing the hum leaping the beauty of rea life, Eri dew only from I, never memory. ‘eres worked for Harpers Base and Vanity Fa his iusratons charactriaed tyyan economical se of fine and colo He slo ihstate the advertising campaign Fe Schinparell perames. Today fee fashion isos il work oe adverising companies: the nage (above right isan adverdsemtent or the UK high street retailer, lopshop, by David Downton. Ceci Beaton contributed amusing Schispalls flaming solvaheshetard crac most Farnous for Oscar-winning costume designs for stage and screen, and his fvearer ome photogeaphs of Holywood actress Towards the end ofthe tities, the fasion Fashion kets ever desig to Vogue thxoughou the tires but became THE FORTIES uring the Second World Wa, many European fashion luseators went to the Unite States, where there were more work opportunities, and some never retuned. The ‘eatly par ofthe decade saw ustaion syle continuing in te same oman vein theme seanbrsitesarelertastmen theyhad embraced i the hstes. Dominating fortes fashion ilustration, alongwith (tai any aa boesake (Christian Bérard and Tom Keogh, were dhe lkstetons wha coincidentally sharedTHE FIFTIES LES PARISIENNES z de * G Kiraz DENOBL.‘THE SEVENTIES Antonio Lopes continued to work, however, and was joined bya variety of new lors bol patterns. 0 Matto, Mats Gustason and Tony Viramontes, ke thee mark the fs our wash show realistically tendered women, THE EIGHTIES nce of syle so distinctive seemed impossible that fashion ilasraion woukd not return witha The lage shoulders and1vative and experimental work istic materials, Palmer us adverdsng campaigns for Vivienne Wes inl Estée Lauder A wel- known arist in the eighties, when asked oeapure th nfronted the vew tht fat” can never be beautiful” by ustrating high fashion- CONTEMPORARY FASHION ILLUSTRATION SHOWCASERICHARD GRAY ‘what inspires your My inepatiors change constantly _ctorcing to whatever is aproprate to the commission am curently working on, However, wou say that musics very Inspirational when it comes to creating ‘mood or work: al Hoey Lamb ane Pat Smith are aways good to work to. “Te artworks of Aubry Bears Leonora Carrington and Bupa, o the beaut iustrations of Sento, Erté and ‘Antonio Leper are very inspirational. lam lucky enough to have very creative fends ‘nho ate kins enouo to mee for me Te work with hem on srojects is always completely inspiring ane a rel pleasure Are you inerested in fashiont am very intrested in fashion design. | studied fashion at Midletex Unersity and, altiouh it was always quite obvious that fashion station as ny main interest, | woul have been perfectly pay to nave followed cree a fashion Aesgn Fashion ist the man focus of my ilustation work, though iti not anne to fashion by any ens. Great fashion designers with ealintitin and true creat areincredioe to work with ‘They are sucha eatalyst for ambitious cyeatve work Deserbe your work, My works very nacatve, whether the Joo of i always apparent o a My porto has abroad range of stein nave never fot it ecessary to contine nyt toa single sty, when enjoy ‘woring in so many diferent wos. ‘Which media and techniques do you wie? use gouacre, pencil airrush collage ani, otto do nak use the ampute oo my wor though there Is some incredible computer-based work arcund realy need to physically dam ‘pence, pale abeusstoke, to ‘make those dams. much pref’ t see {he physical creation a artwork, even iF means there are mistakes, rather than Something that may appear perfect but Ismomogeneous ke to be able to work ‘What for you,makesa succesful fashion istration? Something truly elective of the sears personality, spice by the creativity of @desane's work, without losing the essence of ether. What artistic trininghave souundertakent BTEC National Doioma in General Art and Design a Great Yarmouth Golege of At and Oe56n, and BA Hons in Fashion a Miaalesex University. I you could give one piece of advice toastudent, what would tbe? ‘good career is made for ck an ‘portunity, a much a its rom talent ake yourastrations accessible to those we can appreciate, spert and use your work Describe yourself and your _reatestachievement. am fortunate enough tohave made «successful career from something great enjoy cing,vison wo coewoeeauen wuss PETER CLARK ‘What inspires you? Looking everyere and at everthing! This can re cre imagination From cout io apiece of squashes chewing ‘um ona pavements eoour nest tocol or people-watching, Absolutely anything looked al wth an open eve Are you intrested in fashion? Yes, the necessary constant changing Isintresting in tser—ine way canes are worn placed ona boa can set ‘ones imagination sprinting Hw torent Garments attect peopl and their behavior i 80 fn, Describe your work | use a comprehensive colection of found apes 28m plete in my eotages. These 22 coloured, patterned ar tetured by their printed, writen or ween suraces, With these media “pint my eonages. Isnade with density of print ane create substance and movement wth ines plucked from old maps or manuscripts, My pices ty to use makemabing in an Innovative ane mumorous woy to create collection af cothing that exes fenaracter and wit Which media and tehniquesilo you use Paper eciage ithe source of my reat. prefer to use old paper because of he way tat It canbe ‘manipulate, ad pater the colors and texture. ao acasonaly we fabric and meta, as nottng i actualy ied ot ‘What for you, makes suerte Fashion astra ‘One tat gies feel of the nero (oarment an nopetuy 32s movement ‘nd visual eetemen nits execution What artiste tralning have you undertaken? | was ven arateneouragement to ook ara at primary schoo Sacenay ‘senoo!then added bei inane’ abi and also the tt enanee o deal wits ‘ejection, Tis was flowed by a fabulous time of sovery ane tecanque earring at Manchostor Colege of Art ane Design then worked television an animation Inthe Uk an the USA etereceveoring ny currnt mario tein the UK ana Europe you could give one plece of advice ‘oastudent what would it bet Look kaw ae don et anyone aind Describe yourself and your retest achievement Be patient not here vt7 AGS AeROaNRLND aN EIAsREBECCA ANTONIOU What inspires yout Am eclectic mix of "good stl When my ‘yes ar oper, anything up tor grabs saver clourtl wore we Hein, Are you interested fashion? My rots are in fashion. | tude tation design for three years and worked as a ese foe seven 30 realy eae into iustration rom a fashion peespect, Fashion by natures alnays about the future an fooking ahead, soit’ naturat forma, as an strat think tho same way. always taking for Semething new something diferent. Fm ‘drawing sandpoint its och ear fo Imustrate something wnen you understand Itsy how certain fanies eave a how {garment would drape or it With fashion Imustration you deity nave tobe ate tito ety oe without hs experience, ont ny work mould be anything Ie tity, Describe your work Ins an amaiganation of ngs ve aban loved the beauty an delacy of Act Nouveeu and, a tne other no he Spectrum the tolsness of Constrctvs, ln my work teres ditty an element of each of these, of intricate patterns and ery apt compositions, ket throw alot of elements into my work. Colo, texture, nature and ornamentation al ay ‘pat Inthe en ny work sametting pot and its always intresting tose the ‘outcome ol these dierent influences, of ham yu can bring opposites together ‘an reao something now. The wonder thing about iustratin sthat mee realy se no boundaries ‘whieh media and techniques do you user Predominant Photoshop along with enc paper tos, magazine tearsheets {and ai. Basicaly anythin can scan in sample and scrap. The computer ‘enadles me to sample at of tings ‘sual ts eal ie bung a collage and then painting vert fashion illustration? ‘The same thing that makes any tutti sucess should make ‘oustop make you wan o tert out of magazine t snout evoke 2 mood, ‘apture3perodin time oF gve you senso hl, but over it should Js bean arresting image. What artistic traninghave youundertaken? ‘ne year in Fine rt at Nene Callege, Nrthamotonstire. Thre yrs in Fashion Design atthe Keat institute of art and Deen. you could ge one piece of advice toastudent, what would ithe? Tonot hold back, dont give yoursl! ay undies ts easy f get imprisoned by your own ste, ut artistically is Important to keep pushing formar anc ‘devoting, otherwise your work ust becomes stagnant Deseribeyourstfand your retest achievement, malay resis ant aay searching ‘or anew solution, F¥e got alot mare that want todo x0 hopeti havent yt reaches my greatest achievement. avi ayROBERT WAGT What inspite yout Lite. ‘Ave you interested fasion? Not realy Describe yo hia ny astration work as move to do wih syle an orachiesthan with fashion. aren fora selon in which composition, sti, wit colours ond ‘raps and so on aren pertect balance uth een other ans erete a sort ‘Which media and techniques do you wet Cole, photoorapy,cawing and ‘computer, nt nacessaniyin haere ‘What, tor you makes sucrest ‘The overal ilsiration has to 2 something tothe clothes without geting Inthe way a he fashion. shou tell astry ane a6 atmaspere ing have you undertaken? rt schoo! dinerva Acadeny a Tine Art and Design The Netherlands specializing in stration and Protography you could give one piece of dice toa stdent, hat would ibe? ver ftiow anything, and to wha you betive iit'in you, whatever you ras for: You must have lew, insane asteong point of view Deserbe yourselfand your greatest achievement Ifteoula desende nyse that would be my greatest achievementCHICO HAYASAKI What inspires yout Anything ane everything that enters my eal fled of sion tis when see ‘bautfl and interesting forms that ideas start pourieg out Are you interested in fashion? Describe your work. ‘The narmaay a ine eoleur a space, Yen istrate, | want each work to nave itferen elements—such as elegance, oes, play spiit—enat marge ‘and coexist happily and contortoty with eachother ‘whieh media and eniques do you uset | use watercolour caper (HP) an brushes. For my line arowings use water-based ens (0.3 and 04) and cooure Ik occasionally use watercolour pencis ‘ond markers, Leeate the nes ane Covous separately by hand then scan allthe artworkinto my Maco este ‘composite image What for you, makes successful fashion stration? Work that possesses elegant beauty tha can capture tne viewer's eve What artiste traninghave sou undertaken? BA Hons in Graphic Design from Lew and Clark Cotege in Portand (USA went on to work at an advertising proauction tem bofere launching my treolance carer. you could give one piece of advice tom student, what would ithe? Just keep on drawing, whatever you ke ‘sthout ition at sw you wit ‘eventual come atoes your awn artistic voice and sti. Deseribeyourstfand your ‘retest achevemen Lowey and general ¢ peace—t nave the abiity tobe absorbed entirely by what lam doing. My areates achievement {woul bea the wonder end | met uring my ellege yar.Tenn What atiictruininghave sou uth yout ot herein he re VIRGINIA rr vent yrs wnat yn Aojred in rt story at Queen's coors wil ope or youn crecons you JOHNSON Unters n Kingston Orta Canach. raver creamed of And youre, a8 Najrein aston Desgnat Parsons creative person, that youre bccn Senoolof Dean in New York interned integrated and whole hen your ratty hat opie you at are Jatt and Mare late magazine (alowed to epess sal in many ways Col tert nd tami nate, in New Yr. esgned shes antans never new yo bl So many has ticular napes decoration neverysay or Helmut Lang seo in NewYork. IYook simultaneous sat, eg tes tes omen wih confidence, nd overs. addon courses in siksren rie design etl, Ths way yur Rapiness perting the aon st dna success re qsrantoe. Are yoann asin? “etocagy new York have Yerymch—tam aoa teste desaner_partatetn varus sittin and———_Descbe youre and your and cating dese. tuitingoraneps ot Sharan Cokge gett achievement in Cate onal, canaca. Ny biotech was vog my Describe your work lob asa degn asta’ and stating Spontaneous fu sped leant Mjouconldgiveonepteceotatvice my own busines adn chie wht wae ‘opti okfasionesalmay coed tomate, what weit bet Acie oad thought that eras the iste an alps. Toad rete yur ae syeando best yer of my anon cee nore ve at urea ove toda et hrow could ot have maghned tat he est Wwhichmediaandiccniquesdoyouus satin as cre ste. andy yutslay jus around the come started Matra do plana my awa, Musatoneache tld memy rawngs Mustang fr ate Spode event Dut pekups Brith andstart panting. rere nt acetate Because they were working on thee book wh em love testre arg patter ory to fertotoese nutans. nite end, (Oran Se and Manners fous incorporate these Otten the diction cdnt-—andcolt—change the sys, areal agen lopan Pet of At Dotween my esate ana teres lar, bis ow oy retest eset Department an started desing ny came om the same place and a cotecton ot resr thing wt ny impeach lt ‘so. scoo you ate taht a foes 8 tees, chs naw sk actos the USA one thing andere ae plenty of caters and Canada, A a tal has happened \hst ory, kena ent Soopers hat you dost lary in ess thanthee yar lashion illustration? An station should be abet transport youand make you feet ait of magic ote should be a sense of anatetime ane place another er oF mood. shoe nake one dream & ike my austetins to rad tes and ‘spontaneous, so tha convey a eeing ov energy and a sense of excitement and oviipaton fore too mach at one Image se this | fn corona nooneVINCENT BAKKUM What inspite yout im intoe withthe “bjet” woman her raph qualities. | fal for ner outines her ne structure, he shadows under nose nds the knuckles of lng steer fingers, the ghia an her cates pte black, chook-brashing eyelashes. The ets behind he “object leaves me ‘ninspicee, ef Hove wemen for what hey stn or but in deci them lncanvasthey are reduced to colourlul ‘yaphic images oni. The beauty of ‘woman fo me isclesly connected withthe fra, des sn and sttfes bes 80 enjoy paiting—daath and decay is ‘nother undeniale source of neato, ‘Beauty eoamed te. Cooursboun to fade away Something that conor to the Date ration of site pnt, guess. pe ane loszoming apple is aready decaying. Although there's notin line between ourshing and decaying, stint cateh tnt moment. in espertey trying to save what there let to save Since demth azo source of inspiration for regioe ann stuck eth Roman Catholic rons and a coguettst interest the symbolic rus, nee na vw ke oer maint with these symbols. Pwo ore sources of inspiration re the hoon sensuality and tik outs of he rt Nouveasaetist ‘Alphonse Mucha andthe strong contrasts of he gente Diack ance photoaraphy of he satis. One cou almost ell aya abd chi of bet at forms ond Are you interested in fashiont Fashion as an art form, as 2 may of enhancing fae beauty.isfolomed by me ut rm more terested inthe ene Product han the mere garment oe accosory leh. is he ealaboration of stylists, make-up artists, photograhers Imssrators, models, ec, tat can make fashion exctng and interesting, Deseribe your work. Cofeurtlarapic images ofthe female DEEP CEE PERDUE EPEGRE EEE PEn EET EL J) Footwen eh fo tai ane the feast of David Bailey's and Alphonse Mucha’ elious baby Which meta and tetniques do you uset Bexycon caves or pens Nothing ‘more, noting es What for you, makesa sucess fashion tlusteaion? Te ines have to fel dood, Thece are many ways of drawing a shoulderine the fitting a skit, o the nechiace over 3 elarbone, but tere are ony a couple that fel and therefore are, good. The brush, the stroke, the pant nave 1.60 ‘me aking 8 fashion dustraion isthe Aepieton ofa mere spit second thal you must exparience in the iustratin, What arte raining have you undertaken I avert got any decent schoaing, thas been a loety seach for beauty in ny stusi without any authried guidance trust my Instincts ana my sense of boauly, People ae Graav and Mucha and Warhol have been my unos tutors! did ‘mosating for about 15 years ana gathered alo of inspizattn by beng pat ofthe Scene ara going through the magazines. yes could ge one pices af advice toa stdent at would it bet Stay true to yourzelt. te ae mach = you Ie rom your artistic dos Inthe lng un you wl Bu.up your own ste any. ‘ou have to stare wth what story has let you with. Justa staring pint or long 2, hepetly, iia journey. Describe yourselfand your rates achievement. Beauty's my goa. laziness my moto Man. could be abt narér on myselt | beleve the inetaton tobe intervenes For this bok sone amy greatest actieverents. Sila student mse im allot 3 sudden giving avi to other students Eternal students we aresNs10RcA ano conrenrona rasiox wusraron Bl CARMEN GARCIA HUERTA What inspite your Everything people in the steel feshion magazines, art of a centuries ana cures nema traveling, my tind ‘Are you nterestd in nhion? Sur. nae, osionphtograys my biggest source of inspiration. Deseribe your work. I aefer otter peopl to describe but ke think that though | work sty ‘eh a computer which normally makes Figures ook to correct and ol, get, some kind af warmth and huran touch {nthe expressions, tsa pereenal mix between machine a handmade work that keto achieve. Ora last tr ol Which media ana techniques do you we? Sahole proces. First, raw a sketch open the fie in usrator and trace over the perc craving, At spot chooee Ihe colours too (wich the best gat ot working with computer: yau can change an undo or ro 3 chs you wen, Ie a game), When Wa trace export to Photoshop, where Id the final toute volumes oh, skin eects ‘What for you, makes sucessful futhion istration? Basically newness, Someting never done Detore but, atthe same tie. able to kop tne essence of beauty and race that {or me defines fashion istration through ‘What asec trsininghave yowundertakent [Advertsing at Universidad Complutense ‘de Maia Spat, bt a6 rol much ot an artiste raining «1 te0k some esons In cassical drawing ata small academy for afew months hile studying atthe unter, tox a course in raphe design at an academy too. tats at you could give one piece of vice to student, what would ihe? [mnt good at ave; tm rabaiy as lst _asanypogy es. But you mus try to enjoy what you da work trom pasion, pay atlention tothe trends ut not too much cep te feeling YoU Rad while paying one when you were a child Deserbe yourself and your retest achievement ma lonesome worker, very proud ot ‘mating ving by soing wnat love es.‘stom ano conrenpoagy fasion wiasteanion Ml AYAKO MACHIDA ‘What inspires your Everything trom my diy lte—televison, ‘magazines, music poopie on the streets, ‘Weve oten find hints and Inspirations in conversations with Iniands, then proceed to expand on the situations ioe ‘Are you interested in fshion? oderatety | 0 amir fashionable people, but dont eit have the sens to apply tomy own wardeobe—sol an mainly on the observing end Describe your work. ont feel that my artiste style Isincreily unique but 40 vaiue the playful situations and suble touch fof humour in my woris ‘Which media and techniques do you uset |oraw stetenes oyna, thea scan them into my Ma oad colour wth Photoshop ‘Wiha, for you, makes succesful fashion iusradon Something that has lou a eos 2 "omell™—tnats wnat aspire to eeat, ass too bring to be erat cute or syn, {Upon graduation fam a at shot Saya, Japan worked at several dsion ems 9s cosion assistant, | started ysteating around 196, art strted receiving assignnets around 1997 Now contin to take commercial omissions ile woring on orga projets and exhibitions you could give one pee of advice toastudent what would ithe? {as mach as fs moortant to create wnat your heat desis, itis also ingertant to ceate sometning enna with the Intention tat we used an vewsd by te pub Describe yourselfand your greatest achievement Mis and easygoing, | am most proud tat ave fuites my wen of making istration a profession, and thal ihave found someting tat woul ike todo For along time FsTon ica avo conTEWPoRARY eso uusteaTiON TINA BERNING What inspires yout The Deauty of te, homever it comes by -reyou interested in fashion? ‘sa very tal personas hopes Fingingong-enough clotnes—I states senina my own tings very a, so got Interested in rand ony very tat, actually not before fst fashion jo, in 1998, |was alvaysinterestedin wearing ice tings but never realy towed te trends that lsat Desert your work Howe te have avril. That goes from {asnion spreads through to essays ‘on social themes to advert sng eb for a comoanies Each theme deserve its ‘oun solution and io the chaenge oftinging the right solution every ay. ‘Which media and techniques do you wet experiment with techniques ther up and see whats happening. Mast tas it ‘e waterolou nk bal en ana proper amount of Photoshop. ‘What, for you makes succesful fashion iusration Style annotation. ith a drawing youn be voy informatie on textures ‘tings cuts, butt would be noting tno a 9008 se, and vie versa What artiste traning have youundertakent ‘Mer working fora German painter for ‘wo yar, started studying graphics, focusing olution in Nurember, ‘mle stacyng, | worked forthe muse Industry and spent one yoo at a magazine 25a graphic designer tetore|aecies to ‘ut pueting eters around ana ea wnat Howe most istration. you could ge one pics toastadent hat would itbet Be patient, explore alow yours te make sakes, ara tal ver again the ‘nly tne you can do that without getting Into route. And go study ina diferent country. never dd and reget that Describe yourself and your sreatetachievement. Trever as what coud please the cent, but do what pleases me. This often makes ‘me do more than what i needed but also teeps te quay of my work nigh. ‘thankful for the patience Ihave, no matter om latiste AND coMENPORAY Ask susmroa MARIE O'CONNOR ‘What inspires your Thats avery tough question! is nays changing, | am inspired Wythe nee to leer an think. ry fo rout about new things techniques, processes or people ane this helps mete develop my work. Dy inspiration often comes rom misates € rom having to “make doo his that are cut of place or ou cortex: ae IY, cat teehiques, ememade ana handmade tems, choirs, matrsses on the tee, arte Povera, broken spectacles with tap, ee Are you interested in fashion? ‘Yes bu hink am more intrested the ie of clothing than the tashion arena heat Infact trahed a texte cesgner and after gratualing, moved to Lordon to work as an asistont oa lshio abe Iatso work as 2 design constant wit the fashion industy. ny bstration ana orton work fasion tnt the emphasis ut cau be the application, Describe your work. ‘nother tough oe! sy this because eel there ae afew strands to what | do and, athough they can sometimes be very Separate ana seen in ferent conten they ae netriabiy tnd or met tut aso as an aesthetie, Tis gives he tact, whichis probaly the most Interesting quay for me, long with expecng te olatonship betwee tings intwo dimensions ang the dimensions ‘tatness ad fulness the cea of orsruction aed the meeting of ow ith worning methods. Wat tends to happen sa response to 3 process. Found materi ard ods and ends crete 2 sensbity, ana that deteemnes my approach styliialy wie, ntrn an re‘inform the coneso of the piece, soy. artwork or rn. Its very much about puting things together in a temporary ‘ay, novng things around and asserting In nay tat whe being conssered, |shopetly not contrive, an Which meta and techniquesdo you set ylation works primary colage boxed and m influence by my training In textes, use a tof tee an yee, alle by htod and machine, incorporate found ephemera tari paper, buttons, ant any bits ane ba hat ake my taney realy. look ou for inferestna surface ‘ualties and sso use salir aberts. from electronic component to peces from broken coramie mugs agp things fn my desk ania a series of boxes, ty touse tin the sameway that store it in anomprecious yt still organized Woy Wha for you, makes a succesful fashion usteation? Something that inspires ana tat co9 be odd or Beautiful t's nat about the lesigner oF tei bran, but ating the totes andthe executen ofthe nage ‘evoke 2 mood or create a completely diferent environment What anit rain youundertaken? [BAHens in Embroidere and Wen “Texas from Glasgow Schoo of At. yhave yo could pve one plece af advice toastudent what would ithe Find things out for yours but aso ask ‘uestions, Cont view your diptine ‘vacuum: experince other sues find ut about tel techniques ana now you ‘an adopt them fr yours Be true yoursel and try fo eroy being student, because you really can anything you vant too a his point in your career Describe yourselfand your greatest achievement. "eon reat think have greatest, achevement. guess alreieant to certain times and crcumstancs. and "tink tat sti being excites by the Prospect of cresting arwork i qute an chieverant fel that Fm only jst scratching the surfce, so hopet ul | wit have mare to acieve nthe fateKAREEM ILIYA ‘hat inspires you? Everything, but in particular the space Hive inand the nature that sutrounds it Ae you interested in fashion? Ys. n fact for many years wile iustrating nas also working a6 2 menswear design! lo various companies Incocing AP Arran Exenange Egress es ana Banana Repub Deserbe your work Itotten gts cesrivd as “ethoroat However think usualy im or Something graphic ana yet soft snd beaut Which medio and teehniques do you us? Watercolours, nk ast, charcoal and varios papers alona wit my Apple Mac and Adove Photosbop—sepending onthe signet [mayor may not imvole any computer manipulation What, for you, makes a succesful fashion illsteation? ‘an image that ara your altention aod hols it mating you wish for more What arte traning hase you undertaken mo to use watercolours, and my ater showed me the best technique for colouring in maps for my schoo procs "ase took varios at courses tmoughout my education including hign schoat and colege. During my colege years ‘ny doce in fasion design focused my attention on seing ry design iceas ia ‘my lustration,anatat fe when reales ow mueh lowed to ilstate fashion you could ve one pee of adver toa stent what would it bet Wel, 9 ewes tof ny ashen insstration cass in college because refused to daw inthe manner my profestr requested. wastore to sath and fot ner know think devolaping your own style and nt conforming to the masses is the bes lesson one can have, ‘No follow your passion rather than what is expected of you Deseribeyourselfand your ead sever! goals hroushout ry careec My earliest goa in my early twenties, was to be pubisned in Magazine twas a publication hac Followed since re-olege days and Incoughout my caeer asa designer ‘Te day thay gave mea call to wort with thr was one of the bes, and ve since ‘worked with ten many tint over the couse ofthe past decade The other publication Iwas longing tobe apart ot wae Vision rom the mere te st sue was published, became acolectot it as a great honour lobe apart ot wnat they were working on and as fortunate enough for my Work te bein several cl the ery issues ihYUKO SHIMIZU What inspires your Basia, everything ve experienced mye, evryone whom Ive encountered ny ti. ends, peop ike or doit ke—these ave a inspirations. The that ets me co the work, OF eves ‘have favourite artists, tut they are ony Smaart of my inspiration. ‘areyou incerestein fashion? Of course. Youshoukd networkin i you are notintrestein Deseribe your work. Japanese woodblock prints ad manga with @westernfluence. Bascal, that 9 Pow grew up. start drawing and apyng manga when wae tle and got bionn eva by Hokusai and other \veocblek artists when gc ite oes ‘Although tam from Japan pattily grew Lupin the USA and alo came back ater of American art and cual infuences. Which media and techniques do you use? | raw on paper with black ini ink and Japanese or Chinese bamboo brushes, tne sean the érawing in and court ‘ln Ate Photesho. teat Photoshop as computer generates siserean Processing machine ‘What for you, makes succesful fashion istration? 1am not so much interested inthe traditional terms of fashion ilutraton, meaning accurately dang the teste i design of eating as never trained In fashion anyway. My backaround is Ivetration and i ac, where concept is ‘asimportnt a or moe ingetan than tne stylet your erating, So, tr me 1 an make an image that etic some kind of ashion ote aswel a a concept ‘mate asuccestl station, What atstictesininghave you undertakent My undereraduate degree mas in advertising and marketing. Alter had ‘worked incorporate Japan or years, went back to art schaol—School of Vial Arts (SVA), New York. datmy test ane second year in BFA tustrtion, hen svitched over 1 MFR lustation a Visual Essay at SVA, Now teach BFA istration and Cartooning at SYA. you could give one pice of advice to student what woul it bet Being influences is fine, but neve cooy ther people's work, You souls become Imartist because no ene as created ‘what you want to create. Whats most Importantstat your war allt who ow are, Your work has to nave yout personal woe. Have as much ile experience as posit outsie of at That wl ultimately make your work rmoreinteresting Desuibe yourselfand your greatest achievement Creating erawings mates me alive ‘The goatst achievements yl to comeMILES DONOVAN ‘What inspires you? New York, Saul Bass, Montana Gok Seay eins, Gasquial, Mite Mis, Michel Gondry Poepshow ilustrationCoteetv, aac. Convoy. cary mo max sleeves, Spike Jonze, Shynole, Johnny Cash aro tort Cutan posters ‘Are you interested in fashion? thi its very important to see what happening around you, nt jst in your portiolar File of expertise but also within the arts in gene, Asorts af things can Inte your wor, rom obscure food pactacing fm and galery vst. Important to keen your eve on fashion ven 8 frewance individual af many sy "enow your market ane the market you do know Describe your work ‘eciional pain ize wh the Aexbity and approuch of modern tenniques and eennoony i's portal based istration, sreenepre, Which media and techniques do you uset ‘Ape Powertoak, canner, tape pager sore pit, use wie A pit tape seisor,Protashop strato. everything dos based on photographs. “Tee are scanned and manipulated in Photoshop then te spray stencils are created ilystator each iil tec printed oat on thin card cu sprayed, scanned back into Photoston andthe piture is reconstructed with lovers and neavy colour manipulation Its very lang process but enables me tohave complet control over every ement you see 2 sucesso iusration vais fom jt to bi you anleve averting the cent ase you to de the, for me, ve completed eveything | set out to achiev, but certain ings must be consierea and shouldbe apparent in everything Youd, Thee incce a balanced composition, sronp use of colour an considered media What artiste sininghave youundertakent BTEC national Diploma in Foundation ‘Stuces an 84 Hons in statin, Univers of Brighton. Tobe honest tough the majority of my ecucation stn the fell of istration hasbeen developed over a period of tine since ‘raduatng You an best aetualy going ‘ut thera earning rom te mistakes you meke whist trying tome it 8 8 freelnceiustrator meeting cen working on commissions te. ent very te about the business and cent side of things while a university the three years sudying was essentially ate to develo style was happy with an that cute be {en forward into someting tha wou be cmmisione, you could ge one pee ofadvie toastudent, what would it bet {oni others doubt what you do aay ‘0 with what you believe and work hard to provethe wrong, Deseribeyourselfand your ‘greatest achievement No stations fr Maverick Records In two weeks,NINA CHAKRABARTI ‘What nspies your ink inspites me have suse fll ‘of stuf other people teow aay. 4 ik cartons, seritary Lowel bags. lndan sweet ‘wrappers ton pieces of walpaper. one ay alltnese tings wl make the way into my drawings. ls, tm eazy about patters, the moce baroque and sr, ‘the boter: and shoes. Hove drawing them. Are you incrested in fashion am interest in personal style ater ‘than fasnion. | don read any erent Tasnion mooteines but peter ta look at old ones. Somehow ind thom more Interesting, Maybe ook at ‘contemporary fasion inten years tine ibe ready foe ther then! also fie lahat rend wes en inspiring, Describe your work My work is very setaes and aecorative often use type often a a decorative tool bul occasional to express oe ‘My works ximariy about the quay of ing, although have started to use found objets ad crate more layered work tnece dye Which media and cechnigues do you uset Fm adcetea to tring pens. ven tustraions end up bela coliaged with {ound objects an composed in Photeston ‘Wiha for you, makes succes fashion isration? Something that makes me think, “Wow, vgn done that ‘What artistic training have you undertaken? {8A Honsin Graphic Design at Cetra Saint artis, London. MA in Communication, {rt an Design at the Royal Colege of ‘A Lonon, yon could give one piece of advioe toastadent what would ibet Appreciate the trary: a whole wor past and presents wating to inspire vou there Describe yourself and your speatestachievemnent? Smal and brown sighly hunchback Generally of hap disposition srt frem winter when 90a wer. My ‘greatest achievement earning how toridea tite at age 28—and thats push i taking about, nt a ‘motos, Iwas hard especialy as tor a igament trying lean the Fest time and na a fear o eyeing. remember tho fist ime yc to werk and een soenhiarate. ieMATTHIAS FREY What inspires your Binds af musi, desig istry (especaty the seventies, peonle,every day things An Berit such a vibrant sity with so many contradictions, You cen bein ten aiferent parts ofthe ety and feel ike you ae in ten citer ccs, This contrast ispting. There ate a et ot creative people in Betis, whic, although itmeans sit cometition is a inspiring ‘There at ut too many exhibitions to s26—inspratonsintrcitnary Are you interested fashion? ‘Yes’ very much interested in fashion — but not a faehion etm anymore, urge to be fashionable was defintely stronger in my twenties than today stil fon trends ut ot every single one am pow comferabie ns wel essed — rather than oud andl otrageous, Deserie your werk tis very "bop, very pratt. Hs am is ways to plas te vewer My work ismostiy very bright and colourful thas Improved over te yars ans es. very once nae come up wth 3 ferent way of doing someting —for frame shading or colcured outines Instead of sali back ones. Ten ook at ny oleriusrations and thi shout ways have been vsing coloured tines Which meus and techniques do you use Iara by hanes then sean my drawings ane ‘i everying ese om compute work vith Adobe hustator ad Ptoshop We been using ths tecmique fra while now, but ntetween W's important oy out new techniques. ‘What, for you, makesaseeesfal Fashion dlusteation? It sult ve you seme lnfermation about the garments o¢ 2 feng of what they are lke. hink a fashion uttion i more ‘aplece of work than a plee at art—s0 [should be ess about the seexression hat ards rang have you undertaken? Diploma in Communication Design at the Fachenschul in Wiesbaden (Germany) ‘ity wo semester tthe Univers of “Technology (UTS, in Syne. Auta, ‘This had an imense impact on me, bath personally and professional Iyoucould give one piece of advice toa student, what would ibe Do goand study na aievent cunt or ‘abil. The Fochhochschten Wiesbaden where studied i very incusty ‘rented, Thal's goo, because at a9 ely stage students got to krow how the Industry works: terings. meeting the cont, peseting work, et. The uriversity In Syney (UTS) was aut the oposite the focus was onthe ie, the rete process. lo ting ina foreign country breagens your horizon immensely, Ceaing witha erent mentality is fascinating. ‘oustart to adapt to parts ot hie at ‘me some tine you get in touch wth your ‘en country’s mentality an became move aware oft So take my advice an take onthe chalienge—t wl py oft. DDesribe yourself and your grestst ma grapticdesineritstrator ter ished my stucies, | worked in smaller Aesgn agencies fora hl, two years _a90.| moved to Bern, becaming sl employed. love my work could think of any work that would suit me better and could make me happier. atthe same time, don't tae it to serious ort Iie designers whe can ony tink ana Sspc0k about design. Tare. lat more to te, ana thnks neat to eeknowledae that fae, Hove muse. nin, long with ving ts the bes thing mankind has eer Invented. My greatest achievement? Has yet tone achiovea, ques. venad some of my work published in magazines and books an always init very wxting Bt think my greatest achievement so far is staying a postivetinkng personvstonca at comewronar snow wusteion WE MICHOU AMELYNK Inapires yout My inspiration varies ranging from 8 Scifi subject toimages that come fram reading 2 novel. can bo trom scanes 0 stage or init, that touched me ane tht Feeain with me. Fr porta, |ehanse relatives, famous people ike or pear with some dtinctive feature Are you inerestsin fasion? mnotafenion ada ut | appreciate the fabrics, the datas ofthe eazalions, the acessories, et. Describe your work. contemporary nand emia. ‘hich media an techniques do you uset The teenniguitaational Ener dae ety onto te abc o | transfer the ‘maia nes with carbon paper Ate ha, athe rough tn an an a page the ieee of abric on ite circular frame. "use coten threads. The choice o stitches [side tut | main use straight tem ‘What, for you, makes succesful fea 2 shu blending of elegance an ety What ast txning have youundertaken? ave no ea rain in usteaton, butam educatedin dance ‘bli ontemporary ané modern zz cance nave completes a preparatory year in interior design an short courses in refessona make-up ana vise. Uyoucouldgieone piece of advice toa student, what would ibe Explore your areas Deserbe yourselfand yo greatest achievement, malglan of Keren origi, ing in Brussls.| tude make-upand used to work lr theatres, main at he opera Journey, alter being obstructed in ‘nolecence When | was a teenager, started making cote withthe hep ‘of my mother bul hen using the sowing rmoching alone wae a strssul experiance Later oo, here was a remnant of ear ‘when necesito co aeration or eter needlework. | atays cose to handsem ‘Te ioe of contemporary embroicery ate att motte me to ave embcoidery ary. As ras used to hand Sein, stares by teaching myst guess my retest achievement wil be the next one- q YUKI HATORI ha inspires yout People and iis Late-night moves. ve you interested in fashont "e's hard notte observe unique and ssh peool on the streets eseribe your work. ove to incorporate detals and elements Inspired fereign extras inte my werk, ut the women iustate ae the \ntessenta Japanese women-—modest san ether ‘Which media and techniques do you use? "raw by han then work in Photoshop on my Me. ‘What. for you, makes success (oshiontlustration? ether rabs meer no. ve never ‘ealy thought about what aks it uccsstl por se. hot artiste traninghave you undertaken Foran rom Sats Mode Seminar ‘mat school in Toyo, Japan. Shorty alter, 11995, entered and woo the ‘cnance Competition Award noses by ny carent agent Ifyou could give toa student what ‘Cheri wnat you k Deseribe yourself and your realest achievement, Toten come arose as energetic ano outgoing. but am actualy shy. My greaost acnievernent woul be giving bith to ry sonSORIA ND CONTEMPORARY sO ALAIN MARION LEFEBVRE What inspite your od knows! Tha aspiration ting hat sie ofits ean tm inspires by 2vehtectre; soul azanconed places; abstract shapes: dlagrams of al carts: ‘werd obects and creatures and 3 the ‘moment, subtle colours, Are you lersted in faslont ke understate fasten along with ‘ance ora mar pring atte. Shoes ae great 0! tn ea it, an arecate a beoutiful pai of snes, he desian of piece of oth ois texture, but whet People wear snot what ntrests me mest when meet them. As an iage-maker, Im intrested in the way fashion eitoils or campaigns ave attecad and in wrt they reveal ofthe saciety we Ive in Describe your work Recently, my works changed. now use more craig. ike subtle cols Compestionsamavor aspect of ay work lahich mainly focuses on characters |tways start rom the character, whieh ten dctates the ie ofthe feral the background elements and tne sty 1 he mage. Each elemontpatcpates in Ine eoboration ofthe image and hs @ reason for being there. tent ereate images with an atmosphere they alays contain the embryo of a try. Which media and techniques do you use? tse my own phtoarapny an drawn. | aso cutout images rom magazines an books, or scan abject | thenbring the \shote nage together in Protoshop. What. for you, makes sccessfl Fashion tasted? Its animage tat eptoizes the spit ot the lines portrays or elisa story. ‘am aso be nat jst works by showing {he clothes inthe best ght. ti either an Image that works fa lshion element— apiece of cloth, shoes a an accessory— thats brought out and made oooh utstancing, or he eopost, an image ‘tat works wth he element. In ths ast case, the images aetetion a tem tase objects actualy ceate the world ‘what aati You undertaken? Istucie Fine Art for five years Ecole nationale Superieure des Beaux 2s nance 36 wel ae Muted in 9 Photography Schoo in France. alza have BAHonsintustration, which ook at the Kont institute of Art net Design yon could ve one pice of advice twastudent what would be? I iscruclal tobe open anc learn as much 28 you can. But I's just as important to forget ital atone point ant na your fen way! Se curious of what others do and of what others have done beter, Personally, Hind nistory of at very Important as even the most cting-edge lyfe has sourees that conte traced Creations mostly tout renwention. ‘p8n, don't be afraid to experiment with new syes, alwys lok further. Gat ea Artists who mak tate aio very good at promoting themseives, so be seepored to develop your commen sis! Deseribe yourself and your greatest achievement. ‘ay retest achievemont is aluays ahead! "guess that describes meas an optimist! Tough my career as an iutton my style has change fol Its said tobe ease if you stick toa commercial lve tat you can be recagizn or, ut ind (ois ery aerating | want to Keep exploring mss an Yee tee to ave a style whon | became bored of father than Become a esoner of that same style trom fear tat etents wont foowit | change. ony eyes a great achievement isnot who youve worked far or now many ‘people nave seen your work youre ‘managing te stay true to your creative Sel. thats a great achievement.TOBIE GIDDIO Whatinspizes yout People, places are tings woiting to me musk, nature, bautfl cloning, eatzes beings, tru creators. anes Martin, Test Amos, “Yellow Supmaene rmaStatin, London Are you intrested i fashion? ‘Yes Fashion photography has greatly Intuences me over the years. have reamed wnat mates a slid and inepesd story rom the tks ol Steven Mets Paolo Rovers! an Cala MeDean, Fashion visionaries such a Aletarder McQueen, Rei Kawaubo and Yt) Yamamoto have Inuences eo reat elas wel. They remind me agln ant again of how ti. inwaraly and outwardly. can take tings Its all atout great beauty, beraton ane uae creatity with hese gus Deseribe your work my work's uinaely about connecting to the universally innate beouy in als. 10 my best to stay out ofthe way oraer to alow hese somonnat army beings {to1emergeanto te page. When I heve an {sslnment for fasion company t's the same process, exept know wna hey woe wearing. ‘Which media and techniques do you uset almost alvays stato wih 2 completely rect sumiinkaraming. never eo a ough selch or any type of underctawing and 2 lot of raaings get town away uti ge towhera need tote Then | apply Pantone transparency film n various ours an gradations wth astra edge razor blade, Ts product mes <éscontinued years ago and so lam continual earehing for what nee ‘Wiha, for you, makes asuceasful fashion ithstration? ‘A sucessful asion drawing strates gorgeous woranincoting, in ‘95 that a photoarapn cannot. She Issuoremeryetegant without a sense of comparison to @mate er se ‘A sucessful asioniustration brings the viewer» pre sense of delight and pleasure Theres much et tthe Imagination, wile what is necessary Femairs apparent. bother eo 286 drawings that ae lacking inthe knowiedge of anatomy. am very focused on the sructte and balance of raving, (uity of tine an compotion isevervthing. What artiste oininghave youundertakent Fshion stration at the Fashion inetute of Teennoony New York. My primary mentor was Barbara Pear sucessful fasion stator fom the Shh a0 seventies who weet on to nave a caresrin fine at. Othe instevtors Inctuted Jack Patter. a snkana, Geringe Stretton and Dorothy Loverra you could ge ane piece of advice twa sadent, what would i bet Be yourset Find your vsigue purpose. Da lwnstevartakesto find out what thats | Describe yourself and your greatest achievement tink my greatest achievernent as been that nave maintained my arts inter ty ‘and independence tivoughout the years is ied that has evoved relatively slo nav lenrnes humility, persverance anc inthe maces,EDGARDO CAROSIA what insptes your eal tnd nspation in everyting that Surrounds me. Atnough that sours 3 clone istrue. Working for eiferent lypes of magazines and petals, ected to difereotaudionces causes me to carry out alot ot investgation of specific hemes, hare ssa much that errespondst fashion and aesthetics, Incturing the 360, musi, newspapers, polities et. But many oer tings nse re simlari~—my rena, te endo my elends thelr inciallons and custom myson. my wif, the sea that we see through eeu the partes, he Festivals te street. the people thal pass lon the street. Inspirations constant tor me almost routine and always traps ‘me ino worhing Are you Interested in fashion ‘Yes rom the types of clotes | buy for rmysllt the textures and colours ofthe lots te saiee-ass windows ot {he models that parade on the runway. Fashion nterests me a on aca of perpetual inestgation,atnough seems nat fashion atays etme ani 2 constant recycling process. In very case fasion aways returns, but reaetine, ‘gue ed redraw, infinite, Describe your work Describing my works ait iticut am very curious ana investigate athe ‘ime, pushing my own tations, 5 am altracte to dierent echnigues My ork based onthe study of forms anc technique, ine 2nd syle. tn geneal mine se commercial works, by asignment for espapes, magazines, pubic ane ‘esgn Ths work is what cartes ne Forwards to discover in myst tferont styes every tine, Which media and techniques do you uct The meio thot Lie i everything hat Hind appropiate foreach situation ink, (of PC. The scanner and the PC are the ‘common denominators tht hep me to amalgamate everthing. what, for you, makes suceof fashion ustration? acl pens, ets, cates and PE—2 ot | Tne reecom of techniques that can be sedi fshion tustrationateots me (ne can experimen, mix anc propose, and | Ir alows ye te eoesinto aise exaggeration. in my case, iis the tne ane Colours that eval but Leroy the itustratons of those that resent iterent laoas a styles, ming techniques tthe same tine. Tis is whalinsies me nny less-commercil wort, uhicn| eno alo What artiste tesininghave youundertaken? ave done al kind of worknope inked tousration but am basicaly se taught, since ta 9 university couse not iniestration but a enemy From this comes interest in coiage—the mxtre and investigation, | supp08. ls crowing asartstic expression that ha always attracted me since twas very sat Therefore, nave tie to tae lasses in rain, commecll tstraton erawing Dy PC, comic sti, animator. panting, you could give ane piece of advice | ‘oa stadent, hat would ihe? Wat caneustwsents wha ape to veel vale cunesiy ae oningispensele tool, since itn ect iwestigation 2 com thao, o tenia, Describe yourselfand your ‘reat achievement. Being ate to work cong what Lerioy Ie whal Isai most The eros ane investigation that go into my work are the things tat aetine me as an author end iustate.STEPHEN CAMPBELL What inspires yout The children and tonagors that sce at 1 day jo 98a at therapet at Beles Hospital in New York city Those New York City teens have amazin street sve Mories ie Richardson's Mademotseleor ‘oder’ Vewtend, Kes Poly Mago Tals Playtime My coliactions of Soop and Tn To. Trave Photographers te ean-Perre Khazem anc Sam Haskins. leon tke Poly Meson—they lve nd ie wth the fastiony ‘Are yo interested in asin Ys, but also many ater things toa ‘owing up, would twas daw the [asions trom te newspaper ste page fashion magazines, Deserie your work ink of my work as paper eu-outs with many ayers. My details, colour anc humour are the most important. ke ny tigures te have just enough Information todo teiejob. The resis Tet upto he viewer tdci the igure name ethnic story and ques, ee Which media and techniques do you use? Wy lustrtions are create in Adobe strate: nly arm with he mouse, The mouse gives tne quay ke a eke for ‘me. The computer alows met pant and rm oir. Lam able tos the colour in ny ead. Then th the computer colour ‘UYK palette, | am able to mix te desired Colour instant geatiistion. nation, |atays carry a setcnbook and marke linen travel | am abe to use my "hrougheut the yoa, am aways sktehina bit of something. Later. incorporate ‘nese ile sketch ideas when needed Sometimes an istration might come ‘tom the crewing of bag o shoe seen fon the street ar subway. What. for you, makes succesfa Fashion illasration? The communication hast be ler in Ieee to be enforced bythe details Colour an hum. There shoul be 3 reason to give the iustraiona second Took and stat sindertaken? ‘ncolege my maior was in Graphic Design/Packaging. unked out ofthe colurtheory classes ana programme due tomy nail lo mix aerylc is fo Colour scales, expired dierent mod ‘nd types afar whi graavating wth an ‘extistory malo {rowing up, nave te thank my mater ‘nd oranaiather for proiting me with creative art experiences They made me aware thot everything ana ening) can be made with your hans, This Dlosophy has Reped me trough all my development as an arti, whether | as scuating, sewing ardering or embroidering a dog nee on a sweater, you could give one pew of advice toastudent, what woul it het ‘ay avi sto pursu what you enjoy. ‘raw what you know raw oF mabe ‘something everyday. ot ama east thinking abut the nes stration a my rin. Even i i’ have any success In my istration carer would i be Arawing every day. Bo your on hing, "ends come ana goin iustration ane Feshin. te aware ofthe wold 28 Hstory insige and outside of fasion then Imastrate your way. Develop your stints and new tose to them, Those Fist instinets ef enoie are wnat mae you atorent Describe youre and your retest achievement. ‘Observant Lacoste loving prep, har worker, collector at tera tstatr The iuneh of ry Ralph Pci anneauin Tiesto thi of seeing my work Feinterpreted as aes, toe inensional obec.ALMA LARROCA ‘what inspires your Many things can serve as sources cf inspiration acceing to the moment and the work to be carried cut. atiovgh tive that inspiration doesnot aways ppeor natural when seek or ned it Ie someting that comes to my mig for any reason and at ay tine. eas can rise trom 9 move, 3 newspaper rom ‘atta wt lands, aso, certain thinos an serve to make me begin a work places lr environments sna hese, the clear horizon, te gen of mountains, some asic the smile af my baby, areal! ‘es itattracte me ae an arti ares where several dsilnes ae mined especialy the te textures of the human body he dea of essing siouettes in my istrations entertains me Describe your work | work by assignment, retin istrations for magazines, newspapers, book overs, ste. |nave ala cared out a projec foe restaurant, The work was created with oes so tat prints giants cove ne vals ofthe restaurant. aso designed the menu, cards, et. Generally, then receive ‘an atsgneest the test stop comping Information on te theme investiga though the Internet, boots and magazin’. write down my 60, mixing Information wth tas stetehes, which sometimes ony | can understané But sometimes rk rectly on what wi be tn inal work without apo shoe, pending ate onthe importance ‘ofeach workand he time that have twcroatet, ‘hich medla and echniques do you uset ute eiferet techies doing as such manual as by computer, andthe ta comine them for he final res. am ‘ory intrasedin mined med, especialy

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