Body of Instructions This is the area that takes you step by step through the assembly of your project piece. Read through the entire set of instructions before you begin to sew.
You may need to read through the entire set of instructions more than once to fully understand them. Look carefully at the diagrams in the instructions. They are very helpful in understanding what is being said. NOTE: When sewing, follow the proper sequence of instructions. It is always tempting to skip ahead in any project. There is usually a very good reason they have you do one particular step before another. Pattern Back The back of the pattern contains a chart of yardage requirements for fabric and interfacing, and notions snaps, elastic, etc.
Below is a typical pattern back, showing where information is found. The pattern number is The drawing shows the item s included in the pattern.
This consists of one skirt style; the pattern includes a total of 5 pattern pieces. The description says that the skirt is pleated and has one pocket that is concealed in the side closure.
Under Fabrics, you find out that this pattern is not suitable for obvious diagonal prints. It lists many types of fabric which can be used. All seem to be medium weight fabric. Under sizes, you can see that a 23" waist is a size 6 and a 25" waist is a size 10 also check hip measurement to be sure the size is correct. To find out how much fabric you need, simply look down to the next section. If the fabric is 60" wide, you only have to buy 2 yards.
Remember to buy extra if you are tall or you have to allow for shrinkage. It is always better to have a bit extra than be a bit short! You will also need interfacing according to this pattern. Purchase thread to be one shade darker than the background color of the fabric. The salesperson can be a tremendous help in choosing proper fabric and notions. Don't hesitate to ask for help! Pattern Pieces and Pattern Symbols Fabric Placement Some of the symbols on a pattern piece provide instructions on how the pattern piece is to be laid out on the fabric.
Direction is very important because fabric usually has more stretch in one direction than in the other perpendicular direction. The double ended arrow means that is the direction of the grain of fabric it means the arrow will run the direction of least stretch on the fabric.
Sometimes, however, this arrow will say "stretch", which means the arrow is to placed in the direction of greatest stretch.
This line should be parallel to the edge of the fabric. This is used when two halves of a piece are identical. If the pattern piece is cut down the center and the piece is placed on a fabric that is doubled over, a finished piece with two identical halves is created. Sewing Symbols Other symbols assist in lining up pieces that will be stitched together. These marks can either be cut into the fabric, or drawn onto the fabric. Dots are drawn onto the fabric.
Notches and dots are used to properly align the fabric pieces that will be stitched together. The broken line represents the stitch line. Cutting Instructions The pattern pieces might contain instructions. A piece might tell you to "cut two" or "cut one". This refers to the number of pieces you are to cut. Usually "cut two" means two opposite pieces are to be cut. If the fabric is folded, place the pattern piece on top of the folded fabric and cut through both layers of fabric. You will end up with two opposite pieces.
Your fabric lay-out instructions will show this in detail. Altering Instructions A straight line with the term "Shorten or Lengthen Here" means this is the area you can shorten or lengthen without changing overall shape of the garment. For example, to shorten a pant leg, fold the pattern piece so that the 2 lines meet.
Re-draw the outline of the pant leg as needed. A shortened boot cut pant leg is shown on the right. Use our free robe pattern to learn how to create your own robe pattern out of a simple tee shirt pattern. Use our free pajama pattern to learn how to alter a pajama pattern or create your own pajama pattern. The image on the right is from our free pajama pattern and shows how to enlarge and lengthen the pant leg.
The reason is that most patterns come with multiple sizes. I can trace and cut only my size, without cutting the original pattern. Be sure you have plenty of space to work. A large table is best, because it is at a height that is friendly to backs especially a sewing table, which is higher than a regular table. Laying and cutting on a floor leads to very sore back and leg muscles. Assemble everything you will need: pattern pieces, pattern instructions for lay-out instruction , pins, scissors and fabric.
In laying out your fabric, there are some important concepts to keep in mind. Stretching Fabric Back Into Shape Fold the fabric as shown in your pattern instructions and lay out flat on a cutting surface. If the fabric does not lay in line nicely, it may be a bit stretched out of shape.
If this is the case, you will need to stretch the fabric on the diagonal. Get someone to help you, and stretch the fabric from one corner to the opposite corner, in the direction that needs the adjustment. This should take care of the problem pre-washing the fabric tends to take care of this problem also. The grain generally runs the length of the fabric parallel to the selvages , with the greater stretch running in the opposite direction perpendicular to the selvages.
The selvages are the side edges of the fabric. The distance between the selvages is the width of the fabric, such as 45", 54" or 60". Grain vs. There are directions where you want stretch such as across the back width of a skirt and areas where you want less or no stretch such as the length of the skirt. The pattern pieces will be clearly marked as to what direction they should be laid. Below is a diagram of typical fabric.
Please note, however, that the greatest stretch may be opposite of what is shown below. If you are not sure, grab the fabric in two places, 1" apart. Pull the points apart and measure the length of stretch. Repeat in the opposite direction to see which direction has the greatest stretch. Be sure to place the pattern pieces according to greatest stretch. Fabric Cutting 1. Positioning and Cutting Pieces 2. Fold your fabric according to lay-out instructions.
Lay your pattern pieces in the correct direction. Place pattern pieces on folds where required. Positioning Pattern Pieces. Always position all pieces before cutting any out.
This way, you can be sure you understand lay- out and have allowed space for all pieces. Check over the lay-out instruction in the pattern and carefully follow these directions. When you are more experienced, you may have your own ways to lay out pieces; for now I suggest you use the lay-out recommended by the pattern instructions.
Securing Pattern Pieces You need to secure your pattern in place before cutting. You can do this with pins or weights. Pins are more precise, and you do not run the risk of knocking a piece out of place. Therefore, I recommend pins for beginners. Always place pins in the seam allowance. As with pins, scissors are more precise. A rotary cutter is difficult to use around corners, it's easy to overshoot your mark, and they are very sharp not at all appropriate for children.
I definitely recommend scissors until you are experienced. Instead, cut away from the pattern piece. Notches are used to line up pieces when sewing them together. Marking Pieces There are many different places where you will need to mark your fabric pieces. In marking fabric, you are transferring important information from the pattern piece to the cut fabric, such as where to sew in darts, where to place buttonholes, where to place a zipper, etc.
There are various ways to mark fabric. You need to consider your own preferences, as well as the type of fabric, when you choose your method. Pins Pins can be used to mark places such as start and stop places for sewing and measurements. You must be careful with pins, however, because they can leave tiny holes in our garment. Consider the placement of the pins as well as the type of fabric before choosing this method.
Pins are best used only where you will sew a seam line. Tailor Tacks Tailor tacking uses thread to mark the fabric pieces. The following is an example. The thread can be sewn through the fabric only, or the pattern piece and the fabric. Then cut the thread and pull away the pattern piece. You now have your mark in exactly the right place. It should stay on long enough to be useful not smear or rub off , but should be easily erased with a fabric eraser.
Fabric pencil and fabric marker 4. Tracing Paper and Tracing Wheel The tracing paper is placed between the fabric and pattern piece with the transfer color toward the fabric. Use the wheel to press down on the pattern marking to be transferred. The color on the paper will rub off onto your fabric.
Ready to purchase a new machine? Check our directory of sewing machine retailers. Each make of machine is different, however.
You will need to refer to your own sewing machine manual and become familiar with your machine and its parts. Learn to care properly for your machine, and it will take care of you for many years. It has an opening for the needle to pass through, as well as lines that serve as sewing guides.
The needle may be a single hole, used for straight stitching, or an oblong hole, which allows the needle to make stitches that have width such as zig-zag stitches. NOTE: Be careful when using a straight stitch throat plate. A straight stitch throat plate is the best one to use, however, when making a straight stitch regular sewing stitch.
It helps prevent the fabric from being pulled down into the machine having a needle that is sharp enough helps prevent this also, although you must use a ball-point needle for knits. Notice the throat plate on the left has an oblong hole and the one on the right has just one small circular hole. Use the type on the left for stitches with width such as zig-zags and the one on the right for regular, straight stitching. The two long openings on the outer edges allow the feed dogs to come up an explanation of feed dogs follows.
The bobbin is housed under the throat plate. It holds the thread that locks your stitches in place. When you sew a line, the stitches on top come from your spool of thread, while the underside stitches come from the bobbin.
Read Bobbin Winding later in this chapter for basic instructions on winding a bobbin. Also, refer to your own sewing machine manual for information on your sewing machine bobbin. Feed Dogs The photo on the right shows the feed dogs. Feed dogs feed the fabric keep the fabric moving while the machine sews.
Never push or pull your fabric. The fabric will be fed through for you. All you have to do is gently guide your fabric. When sewing through two layers of fabric, it is possible that one layer will be fed at a slightly different rate than the other layer. Although your two layers can be perfectly lined up when you start your stitching, by the time you are at the end of the stitching line, the layers can be "off" one shorter than the other. This is VERY frustrating. Therefore, two different solutions have been developed.
If you are lucky, your machine will have differential feed. This can be engaged or not engaged depending on what you are sewing. My Pfaff quilting machine has differential feed and it is truly wonderful. Both layers of fabric are fed at the same rate. If your machine does not have differential feed, you can accomplish the same thing by using a walking foot. It is a special foot that attaches to your machine.
A sales person familiar with your type of machine can help you select the right foot for your machine. Presser Feet Presser feet hold down the fabric and help guide it through. They also serve various special functions. Are in your head. Your 6 options to learn Illustrator with pros and cons.
Hint: fashion school is usually the worst option. The good news? Just kidding. If I were? So, if find this guide helpful and know someone else who would too? Be a pal and share. What makes a good fashion flat or technical drawing?
Good drawings are important as they can save time and not halter the progress. What are your favourite garments or subjects to draw? I really enjoy designing outerwear as I think these garments in particular require you to think jointly about function, style and technical aspects due to the different end use such as who will wear it, where, when, in what weather and so on. This allows me to indulge in the details of the garment, internal as well as external, to create maximum style and functionality.
Do you have any advice for someone starting out in the fashion industry? Make sure you love it, persevere in the industry and find a career path that suits you! I like things full of colour Plovmand.
Colour theory is also introduced and evaluated in relation to hand-rendering techniques and the development of computer-aided drawings and associated colour schemes. The particular role of mixed media and collage for fashion is considered, with a variety of supporting visuals that provide an introduction to the wide range of media choices that have become integrated into contemporary fashion artwork.
We also look at the application of colour to different fabrics, textures and prints. The chapter ends with an engaging interview with a fashion design illustrator who has collaborated with a number of international fashion houses to produce colour prints and textiles for their seasonal collections. The introduction of marker pens in the s confirmed a particularly significant shift towards faster and more responsive media, which were specifically design-orientated rather than historically rooted in a tradition of artist materials.
Marker pens still exert a powerful influence over fashion sketching styles and drawing techniques. Today, however, the range of colour media that is available to fashion designers and design students must also be considered in the context of computer-aided design software. When most of us look at images of clothes in a magazine or see a fashion window display we are immediately drawn to the colour of the clothing and accessories. Moreover, fashion collections are routinely designed and visually merchandised into seasonal colour themes.
Colour is a fundamental, powerful force in the design process, from fabric selection through to the completion of a design. It is also a vital component in fashion that can have a transforming effect upon audience perceptions and reactions. Some designers such as Matthew Williamson or Manish Arora are well-known for their engaging use of colour, while other designers use colour to make a statement or add specific pieces to their collections. Fashion labels such as Basso Brooke, Cacharel and Eley Kishimoto are all known for their use of colour through printed textiles.
The selection and application of colour is a decision driven by emotion but it can have a transforming effect on a design. Consider, for example, a dress design conceived and drawn in beige and then the same design presented in red. We would respond to them differently, even though the dress would be in the same style. Such is the emotive power of colour.
It is an artistic or design decision to select a colour and apply Catwalking. The appearance of a colour is dependent on light: it will take Catwalking. The multitude of shades, tones and hues that are available today through synthetic or natural processes can be broadly identified within a colour wheel classification.
The first 2 Examples of different categories: primary, secondary and is a monochromatic colour scheme, colour schemes. The three primary colours are in which a single colour is used with red, yellow and blue. These may be its various tints and shades. The considered as the foundation colours second is an analogous colour since they are used to create all scheme.
This is when a colour such other colours and are equidistant on as red is used in combination with its the colour wheel. The combination of adjacent hues such as red-orange two primary colours creates three and red-violet. The third type of secondary colours: orange, green colour scheme is made up of a and violet, which are also equidistant variety of contrasting colours and on the colour wheel. The six tertiary includes the complementary scheme. These equidistant colours wheel are used together.
For make up red-orange, red-violet, example, red and green are yellow-green, yellow-orange, blue- opposites, and are considered green and blue-violet. Colours may complementary colours when used also be divided into cool and warm together as they make each other categories: cool colours are classified appear brighter and more intense. When mixing colours, a derivation of the complementary tint of a colour is made by adding scheme and uses three colours white, while a darker shade is made comprising any hue and the two by adding black.
This could be, for example, a combination of red, yellow-green and blue-green. They also employ fashion- sales. Fashion designers will often direction and market-trend research orientated illustrators who contribute visit their suppliers to discuss colours for fashion and interiors up to two to their publications with hand-drawn for the coming season and will work years in advance of the selling illustrations alongside CAD artwork closely with their textile partners to season.
Lab dips are reviewed in a light box under controlled lighting conditions and may be analysed with a spectrometer. The ability to draw fabric convincingly is a useful skill for any designer or fashion illustrator; it is often taught to fashion students as a means of broadening their drawing skills and their knowledge of fabrics.
The process is usually referred to as fabric rendering. Of course, there are many different types of fabrics to draw and while some might have surface texture and pattern, others do not. A designer sketch or linear fashion drawing should communicate a convincing understanding of the chosen fabric or fabrics.
For more artistic illustrations the rendering process can be somewhat looser and more interpretative. The best way to start is by copying a real fabric swatch. Much like drawing from life, this entails keen observation and evaluation of the fabric before starting the drawing process. Selection of appropriate media is critical: prepare a variety of colour media, which can be used in combination. To start with it is best to draw to the same scale as the fabric.
To simplify things it can help to categorise fabrics into a select number of groups such as woollen and textured fabrics, shiny fabrics, sheer fabrics, knits, patterns and prints. It is worth attempting each group of fabrics, since they are all likely to be drawn at some time. Marker pens or gouache can be used to lay down the base colour as a wash effect, while colour pencil or a slightly dry brush can be added to create the desired texture or brushed appearance.
Tweeds can be drawn with the addition of cross hatching and flecks; try pronounced twill weaves with a sharp pencil line. Wool plaids are typically built up in layers, starting with a base colour created as a wash followed by weft and warp colour bands. Darker layers are usually added later with finer lines towards the end, especially for the lightest colour, drawn in pencil.
Shiny fabrics 1 Rendering shiny fabrics for the first time can often be more challenging than opaque fabrics and, since they reflect light, typically need to be considered in relation to a light source. Shiny fabrics such as taffetas, charmeuse and satins should be drawn with a combination of dark, medium and light tonal values.
Sometimes it is effective to leave white space to indicate where the light has the most pronounced effect on the 2 surface of the fabric. This applies to pale or white fabrics, such as those used for evening or bridal wear; Colouring and rendering these fabrics have tonal variations.
Marker pens, watercolour paints and Indian inks are all useful media for rendering shiny fabrics and can be used in combination with colour pencil for accents. Rendering these fabrics presents unique challenges as there can be many values of a colour depending on whether the fabric is layered or worn over the skin.
Their general appearance should be light of touch without hard edges, drawn using media such as marker pens, blendable pastel chalks or watercolour. Colour pencils or chalks can be combined with other media to create the effect of transparency. Hems and seams 3 should be understated. Knitted fabrics Knitted fabrics can be drawn to convey surface structure and texture and are typically defined by the inclusion of a ribbed edge or cable effect. A base colour wash in gouache or marker pen is effective and works well with the addition of pencil lines to define the knitted surface of the fabric.
This group also includes jersey knits, which 4 can take on a more fluid appearance; this can be rendered in a tonal wash. Prints can add a dramatic visual look when applied to a fashion drawing and need to be studied carefully. The most important aspects to consider are the repetition and scale of the print.
Some prints are designed for borders, such as hems, while placement prints typically adorn the fronts of T-shirts. Most fashion prints are repeat prints so applying them to the scale of a human figure becomes a necessary consideration.
Rendering a print on to a figurative drawing or illustration will require you to consider line quality in relation to an understanding of the garment. It is important that the print is drawn to look like it is printed on the surface of a fabric that has folds, drapes and is sewn together with seams. With this in mind, shading techniques can also be applied.
Colouring and rendering 1—2 Illustrations by Wendy Plovmand. In fashion design Wendy Plovmand. While collage was traditionally carried out by hand, with techniques such as cutting and pasting, it has now become widely embraced by fashion illustrators through digital formats such as Photoshop, with some exciting and diverse results that continue to push the boundaries of fashion illustration and presentation formats.
What makes collage and mixed media artworks for fashion so popular and visually engaging is their diversity, allowing you to work outside the usual conventions of art supplies and drawing media. Hand-made collages also encompass tactile and textural qualities that make the final drawings almost three-dimensional in character. Some even incorporate stitch.
Collage and mixed media artworks for fashion often transcend and mutate the notion of the fashion ideal to something that is more abstract than a single drawing or photograph could communicate on its own. Developing collage or mixed media illustrations for fashion is a creative process that allows for a high level of artistic expression.
As with most approaches to creating artworks it is best practised and refined over time, but is underpinned by an inventive curiosity, 1 a love of technique and good compositional skills. One might even be tempted to draw parallels between the appropriation of found objects to create fashion artwork and the notion of fashion continually reinventing itself.
In this sense collage and mixed media for fashion take on a more poignant context. Today many designers and fashion illustrators combine both formats for a contemporary drawing style.
Digital colouring, rendering and collage describe a variety of bitmap raster applications and vector graphics. These include scanning and retouching hand-drawn illustrations as well as creating digital freehand drawings using either a mouse or a graphics tablet and pen. These processes can be applied to a fashion illustration or used for creating colour-enhanced presentation flats.
Scanning a hand-drawn sketch or illustration is an effective means of creating a digital fashion image for editing and retouching.
RGB is spot colours cannot be simulated Witney Cramer. The main purpose of Today, all digital graphics software the RGB colour model is the offers a comprehensive range of representation and display of colours, textures, gradients and images in electronic systems such patterns that can be applied to a as scanners, digital cameras and drawing and edited through the use computers. RGB is generally faster of palettes and layers. Palettes to work with than CMYK and display editing and monitoring well-suited to screen display.
Layers allow users converted to CMYK for commercial to separate different elements of an printing purposes. CMYK is a image so that each layer can be subtractive colour model used in saved and edited independently.
In addition, specific fabrics, patterns Also worth a mention is Pantone, a and surface textures can be scanned US-based global colour authority that from original sources and added to serves the fashion industry and other palettes or taken from computer- sectors with a comprehensive colour generated fabrics. I have been a visiting lecturer at Central Saint Martins Tell me about your collaborations College of Art and Design since with fashion houses , mainly in fashion illustration.
My main experience of fashion design came through running my How would you describe own business and in , when I your drawing style? They acquired a dozen in my work. I enjoy being making art spontaneous and fun. The process of these collaborations is much the same; Through my work I aim to express sometimes the starting point is an identifiable individual rhythm or specified, sometimes open-ended, handwriting, which is perhaps plain but with fashion I consider colours, 1 Yellow field print, an original or elegant in its interpretation of placement, the look of the repeat artwork for Cacharel, by chosen subjects or scenes.
I would try to find an enjoyable illustration in cut paper I tend to been created. This is an element that and useful method to work with select the colours of the paper as can be a concern in collaborations mixing paint, using DIY paint cards, my starting point and from there with clients, who often work towards cutting paper, stickers, wood, metal, imagine the development of the strict colour structures and have to photography, stitching, knitting and structure.
I also use paint, ink, consider the blend with other then create interesting, attractive, thread and, at times, digital products. I enjoy the element and perhaps unusual combinations. As manipulation to modify colours possibilities given by working with with drawing, repetition is key to according to the needs at hand. To me, the mastering of charm, spontaneity, skill and is an intuitive process to me.
Building on an understanding of the fashion figure and the role of technical drawings for fashion, this chapter explores how they may be grouped together as part of a coherent presentation. The particular perspective of fashion illustration is considered in relation to other artwork formats, while a range of artwork boards, sometimes ambiguous in nature, are visually presented and explained. We look at the growing influence of digital presentation platforms, including websites and blogs.
The chapter is richly supplemented by interviews with three inspirational illustrators who each apply their different styles and talents to contemporary fashion illustration. Their distinctive media choices and eclectic styles are testimony to the diverse language used by fashion drawing today.
On the whole it is concerned not so much with an accurate representation of the garment or outfit, but with communicating the allure or attitude of the design. In this regard fashion illustration may be considered as being distinct from fashion sketching. We may also refer to fashion illustrators as distinct from fashion designers, although both work in complementary ways and the production of fashion artwork is common to both practices.
Some of the most successful fashion illustrators have had little or no design training and therefore do not involve themselves in the complexities of pattern cutting or the manufacture of a garment. This is not their function and it does not restrict an illustrator; they have no need to add every seam, dart and tuck to their final illustrations. Fashion illustration is about capturing the mood, the spirit and the essence of a design. Some of the most effective fashion illustrations can appear almost effortless, inviting the viewer to imagine what lies beneath the surface or to form personal interpretations.
Of course, illustrations are not effortless and developing an illustration is a process in itself, one that requires practice, visualisation and experimentation.
Personal illustration styles evolve over time. The between these elements. As there positive image refers directly to the is such variety in fashion illustration, subject, usually the human figure in applying fixed rules to composition is a fashion illustration, while negative not really appropriate.
However, there space refers to the space around are some underlying principles that and between the subjects. The should be considered by fashion positive image and negative space students — these may also be are equally important in determining regarded as intuitive. Once 1 Fashion illustrations by illustration has considered placement in digital form, illustrations may Anna Walker. Whichever route you attention and directing their eye take, whether it is hand-rendered or over the illustration.
Today, inclusion within a portfolio. The term is also used in the fashion industry to refer to a variety of boards that communicate and sell ideas or designs for commercial objectives. Presentation boards are primarily concerned with presenting ideas and designs to a defined audience with an appropriate level of clarity, visual flair and professionalism.
They serve different complementary functions and, when considered within a project or specific presentation, they should be visually linked. This might include, for example, working across a template and colour code style and using the same board dimensions within a presentation. Strong compositional skills, and the ability to clearly communicate information, are a distinct advantage when preparing a presentation board. Presentation boards should not blur into each other or repeat the same information as the viewer or audience will quickly lose interest or become confused.
Presentation formats Mood board One of the most frequently used boards, and one that most fashion students are introduced to first, is a mood board. As its name suggests, the purpose of this board is to set the mood or tone for the design boards or project work that follows. The process of preparing a mood board also enables a designer to collect visual information from a variety of sources and to organise their inspirations and ideas into a composed visual display.
These boards can vary considerably from intense photomontages or composite collages to rather spare visual compositions that convey an ethereal quality. Some mood boards are tactile, others may be digitally formatted. Depending on the guidance provided by tutors or professors, either type may be acceptable but it is still important that the board is planned, arranged and edited into a coherent visual composition. A is already set and the student wants illustration boards 3—4 concept board might also include the focus of their work to be linked to by Lucy Chiu.
Typically, accompanying inspiration or direction more advanced fashion design images. Title boards can be used and a colour board, with the to good effect for introducing a additional focus of a context, and project within a portfolio.
Presentation formats Flats board Although some designers include 1 flats with their illustrations, it is often appropriate to prepare a separate presentation board for flats and thematically link them to your other boards. In some sections of the fashion industry this is common practice, such as for active sportswear and product categories of menswear.
Presenting flats on a separate board can enable a designer to give more artistic expression to an illustration without competing with a flat as part of the same composition. Increasingly, presentation flats are being drawn and coloured with the aid of digital graphics software. If you pursue this approach you should consider how it will work alongside your other boards. These board 4 by Lucy Chiu. They might include a style number, season, price and delivery date.
Range plan boards may be less familiar to students, who will usually produce smaller line-up sheets Presentation formats drawn on the figure. The designs are drawn on the figure and not as flats, with attention to styling, fit and proportion. It is important, therefore, that they are drawn to a consistent scale and that the poses are not overly dramatic as the purpose of the line-up sheet is to enable critical evaluation of the capsule collection.
They may be included in a final portfolio but should not detract from or duplicate final illustration work. Colour boards are used in industry to clarify exact colours and combinations within a product category or merchandise theme.
Colour inspiration is important for students of fashion and fashion 3 knitwear, who often include them within their portfolios and provide additional fabric or yarn samples. It is important, however, to consider colour consistency when producing a colour board as your artwork should be colour matched and the colours accurately represented in your design boards. This sequence of a portfolio presentation. Development other boards and can add a wow are more appropriate.
Fashion figures boards are useful; they can link a factor to a portfolio. Some designers can be cropped and framed on mood board to the artwork or final may include flats with their figurative illustration boards depending on design boards. Although there is no drawings, while others may adopt a the desired effect.
Composing your rule on how formally they should be more illustrative format. Determining illustration is important and, given presented, some students include the format for a fashion illustration is the variety of approaches to fashion them in their final portfolios.
These digital formats have extended the reach of fashion drawing and presentation styles to a global audience, as well as assimilating them into a digital cultural mix that appears open and receptive to the variety of fashion drawing styles that exist today.
Blogs are also being taken up by fashion students who are actively using them to network and promote their work through online forums and digital gallery spaces. These developments are consistent with the advances in digital graphics software, meaning that fashion drawings are increasingly being viewed through screen- based platforms as well as through a range of print media formats.
The continuing influence of digital media for fashion drawings and presentations is likely to remain strong in the foreseeable future. Graphics software, scanners and digital cameras are becoming more sophisticated and a growing number of successful illustrators and designers are using digital media either exclusively or in combination with hand-rendering techniques. If fashion is about creating an ideal and capturing the current mood and spirit of its age, then the digital presentation of fashion artworks will continue to exert a powerful influence over popular culture.
When I see something that Stockholm. I continued with more It has become increasingly triggers the nerve to create; that theoretical education, studying art important over time. I still prefer could be anything really, an unusual history for a year at Stockholm a handmade look, but I have to colour combination, an interesting University.
In I was accepted admit to being quite reliant on the face, and so on. This led to a BA in the same What advice do you have for a but to name a few: Elizabeth Peyton, subject specialising in experimental student who wants to work as Luc Tuymans, Aubrey Beardsley, image-making.
The course also a fashion illustrator? Hokusai and Gustav Klimt. Always of Technology in New York. How would you describe your fashion illustration style? Experimental, eclectic and with a love for contrasts.
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