TRANSPARENT WASH DRAWINGS

Because the effects an artist can get in wash are almost limitless, it is by far the most fascinating and expressive of all media. There is a vast difference between wash and line drawings, and the amateur may have difficulty in mastering the former; but in view of the rapidly increasing demand for wash drawings the student will find it well worth his while to perfect himself in this type of work. My advice is to proceed boldly and with assurance, for in this way only can you attain the spontaneity necessary to wash drawings.

There is a different technique and approach to wash drawings than to line sketches. In the latter, your chief concern is the outline or the line itself. In wash drawings the reverse is true; as many lines and outlines as possible are omitted. One expresses himself in masses and tones, rarely ever using lines. Outlines in wash drawings are unnecessary, as the eye will not travel beyond the boundaries of the wash and are undesirable because they "tighten" a wash.

Generally speaking, transparent wash drawings may be grouped into two classifications:

1. Those in which tones are applied in a flat direct manner, simulating an opaque technique. The artist works from light to dark values, waiting until each dries before applying another.

2. Those in which tones are blended, lending a soft molded effect. The artist usually works from dark to light in this technique, blending the shades while they are wet*

Each of these techniques has advantages. The first is used more commonly for newspaper illustrations, as the clear contrasts of the tones reproduce better on coarse paper. The

second type lends a very realistic effect to a drawing and reproduces better on a smooth-finish paper like enamel stock. The beginner should master the first technique before attempting the second.

For wash technique the drawing should be prepared in the same manner as for pen and ink technique. Use illustration board or medium rough paper and a hard lead pencil. First, lightly pencil in the sketch, then erase all unnecessary lines. Next, apply thin wash of clear water directly over the drawing. A small sponge or clean rag may be used as a time saver. One should be cautious not to use too much water, as it may warp the surface of the paper. Just enough to dampen the fiber of the paper is all that is necessary. This permits the paint to go on in a smoother tone and prevents much streaking.

The amateur artist should limit himself to not more than four tones for his first few sketches. In fact, even the professional artist should guard against too many shades, as they tend to weaken and tighten a drawing and may produce an undesirable photographic effect. Fewer tones lend simplicity and looseness to a drawing - factors of utmost importance to commercial art. In fact, the fewer and more contrasting the shades, the better the reproduction.

It is advisable for the beginner to work from light to dark tones, for if he discovers his drawing is too light in values it can be darkened or strengthened by applying a darker shade over the original one. Very little can be done when the values are too dark to begin with. An art gum may be applied in some cases, but as it takes away the sparkle and freshness of the drawing it is recommended only for altering a mistake - not for general practice. Working over tones is also to be avoided, as your drawing will look worked-over instead of having transparency and life.

Values should be mixed in separate tins in the following shades: light grey, medium grey, dark grey, and black. Mix at least a teaspoonful of each value, - more if needed. It is difficult to match a shade exactly after you have started painting. Then, too, if you run out of a tone while in the process of applying it, your drawing will circle and streak around the edges that have dried; so mix up enough paint at the beginning.

SKETCHING CHILDREN

Sketching children for retail advertising is entirely-different from other fashion sketching, but the fashion artist must be qualified to do both.

Never sketch children in sophisticated poses, but strive for natural, pert, impudent attitudes and expressions. They look more natural when engaged in some game, or when running or occupied with a toy or other trivial. Get a peppy childish look to them, a few freckles across the nose may aid that impudent look.

There are a few general characteristics of children to bear in mind. Their faces are round and chubby; their eyes are set far apart; their lips are full and pouty; their noses, short and turned up; their chains, small and undeveloped; cheeks, round and full; and the space between the nose and mouth is far spaced. The legs and arms of small children are fat and chubby and usually shapeless.

SKETCHING ACCESSORIES

Many of the larger department stores and specialty shops employ artists to sketch nothing but accessories, hiring other artists to sketch fashions exclusively.. Other stores expect one person to do all the sketching. With the latter possibility in mind, it is well for the artist to become versatile enough to sketch anything from pots and pans to French-room gowns.

To become a good accessories artist the student should know something about perspective. Books are obtainable on the subject, and practically every school in the larger cities offers courses in the subject.

In some instances it is better to display accessories on the form rather than show them posed on a flat surface. For instance, gloves are often shown to better advantage on the hand than in a flat picture. Even a face will attract attention to accessories. If you are advertising gloves, they will have more feminine appeal, and. I dare say more sales appeal, if they are shown on the hands of a woman holding her hat. If the face is subordinated to the merchandise advertised, it will attract attention to that merchandise.

In sketching still-life objects, there is one quality every artist should strive for, - a fresh-from-the-tissue crispness, a sparkling new look. If one sketched gloves as they actually are, they would usually have a worn look to them, whereas with the aid of a ruler an artist can lend them a smart crisp appearance. Bags, too, would often have a run-down-at-the-heels look if they were sketched as they are usually seen in reality. Here, again, the artist has the privilege of sharpening his lines.

A compass may be used for making circles when these are needed.

In illustrating leathers try to get the general effect of the grain. If it is a rough leather, indicate the roughness

in your sketch; if it is a smooth leather, illustrate it in an unbroken tone except where the shadows or high-lights hit it.

In sketching soft accessories such as handkerchiefs, scarfs, hose, etc., strive for a sketchy appearance. Give them action. It may seem difficult to understand how an inanimate object can have action, but they can have a feeling of action in their lines.

Beads, compacts, and anything shiny may have shadows and high-lights to bring out their brilliance.

PEN AND INK SKETCHING

There are several advantages to pen and ink sketching that make it one of the most popular techniques for retail advertising. The sharp contrasts of black and white reproduce to much better advantage than softer effects on newspaper stock of paper which is inclined to be absorbent. Also, the clear-cut quality of the lines is most effective for showing the details of a garment, and the sharp contrasts in values lends force to an advertisement and commands the attention of the reader.

There are various techniques in pen and ink sketching, such as simple outlines, accented lines, sketchy double lines, spatter work, detailed textures, Ben Day processes and many others. One should master the most simple method before attempting any of the more complicated. Just a plain even outline should be the first objective - a steady line that has an even value.

Before starting work, clear off your desk or table so you will have plenty of room; never work in a cramped crowded place. Roll up your sleeves so as to get a muscular movement in your arm. Use kid or slick finish Strath-more paper. Do not use thumb-tacks to keep your paper in place, but leave it free to be moved about in order to permit of the easiest possible movement in your strokes. You may even want to turn your paper upside down to draw some lines.

Now, sketch the figure and dress with a soft lead pencil in the manner previously explained. Heretofore we have been concerned only with the masses that compose the proportions of the body. Now consider the line itself and strive for perfection in it. If in places your sketch has three or four lines indicating an outline, erase all but one. Let there be only one line for each outline. Let your pencil

Keep the stopper in the ink bottle when not using the ink, or it will become thick from evaporation and difficult to use.

When a mistake is made in pen sketching, don't try to erase it. Chinese Reproduction White paint may be applied to the line or spot you want removed to prevent it from reproducing.

For practice work the following exercise is suggested: Draw some long curved lines in pencil on slick paper and practise following these lines as closely as possible in pen and ink.

CONSTRUCTION OF THE MANNEQUIN FASHION FIGURE

The Mannequin Type of fashion figure, because it is very-extreme and abstract in feeling, is unpopular in retail advertising and is confined almost exclusively to magazine illustrating and poster work. However, the alert fashion artist must be familiar with the general proportions of this figure and should practise on several to acquire familiarity with the type. To do so,

Draw a vertical line, lengthwise, about ten inches long and mark off each inch.

In the first inch draw an egg-shaped oval for the head.

Drop down one-third of the second head for the shoulder line or pit of the neck. Draw a horizontal line three-quarters of a head wide on each side of this line for the width of the shoulders. The arms extend a little over this line.

The bust line is located at the second head mark. Youthful figures are sketched with high, pointed bust lines. Mature figures require a lower bust line.

One-half head down from the bust line is the waist line, which is seven-eighths head wide.

The hip line is at the three-and-one-half-head mark and is one and one-quarter heads wide. Decide upon the length of the figure at this point and start the legs at the fourth head.

The knees are half way between the hip line and ankles, and the two knees together are two-thirds head wide.

Half a head from the knee line are the calves of the legs which are about the width of the hip line..

This Mannequin Type of figure may be as tall as twelve heads, but is usually about nine or ten heads.

LAY-OUTS

One fundamental principle in commercial art work the student must learn early: The commercial artist is not just an artist, but an artist-salesman. However beautiful his work may be from the standpoint of art, it is valueless if it lacks selling quality. It will be obvious, therefore, that the student must study the elements of successful selling and their application to arrangement and design.

In a national advertising campaign four mediums are employed-Magazines, Newspapers, Posters and Display Cards, and Direct-by-Mail, each performing a specific duty and forming a necessary link in the chain.

Magazine advertising is used chiefly for building up prestige and educating the public, and therefore calls for dignified layouts and more extensive copy. The latter may be institutional instead of descriptive.

Newspaper advertising is for immediate sales purposes and is therefore more alive and commanding of attention and action, less conventional in treatment. In the hurried reading of newspapers an advertisement must be unusually arresting to attract the reader. Not infrequently borders are used to combat surrounding competition.

Posters and Store Display Cards, because they appeal to a moving audience, must have a short text, usually just a few words, which can be caught in a flash. They depend upon brilliant contrasting colors, strength, action and simplicity of arrangement to catch attention and convey a message. If car cards are used in a campaign, the problems are much the same as for posters, and frequently the same designs are used for both purposes.

Direct-by-mail advertising is a study in itself and will not be discussed in this book.

The important thing to remember in regard to the various mediums of a campaign is that each is a link in the selling chain, serving a specific purpose and demanding special treatment. In the execution of a layout the artist is at liberty to present it in any form that will accomplish the objective of selling. He must simply bear in mind that an advertisement, to contain selling ammunition, must

1) attract the reader's attention;

2) convey a message;

3) impress the identity of the advertiser or the advertised product on the reader.

ATTENTION is the power in an advertisement to stop the casual reader. It is the spark needed to explode the ammunition of message and identity. It may be gained through the headline, the illustration, or both; but if the advertisement lacks the power to command attention, all the expense and effort of preparing it are wasted.

THE FIGURE IN SITTING POSITION

Sitting figures are sometimes considered difficult because of the short lengths the long lines are broken into. There are only a very few rules that will hold true in all sitting poses. The never-failing rule is that the body bends at the pelvis, around the fourth head. The thighs then are on a convex line. The length of the thighs, that is from the hips to the knee, is equivalent to the trunk. The legs are also the same length.

When the figure is seen in a foreshortened view there is great variation in the length of the thigh and legs. Here again the use of stick figures is helpful. Photographs, too, will aid the inexperienced to good advantage. In sketching from photographs be sure to change the proportions of the figure to those of a fashion figure.

HEIGHT OF FIGURES AT VARYING AGES

The height of the adult fashion figure - from age twenty on - is from eight to ten heads tall, the exact height depending on the individual style of the artist. Some prefer an extremely tall figure, while others create figures only a little taller than the human body. As stated before, height should- be governed by the length of the face and the width of the shoulders.

In sketching children the scale varies according to the age of the child. A new born baby is about four heads long and remains in this proportion until he is about two years old. From then on the head grows very, very little, but the body quite rapidly. The following scale will be of benefit when working out the correct proportions for children:

Infants to 2 years..................4 heads tall

Child of 3 years....................4 1/2 heads tall

Child of 4 years....................5 heads tall

Child of 5 or 6.....................5 1/2 heads tall

Child about 7.......................6 heads tall

Adolescent child from 10 to 14......6 1/2 heads tall

THE FIGURE IN ACTION

There is an increasing demand for action poses in advertising today. A moving figure will attract far greater attention than a motionless figure. They are used almost exclusively for sports clothes and college shop illustrations.

When sketching action figures the use of stick figures is recommended. It is much easier to get action in these miniature tooth-pick figures, where action is your sole interest, than it is to get action in larger figures where your interest is divided between contours and action. In action illustrations the artist often loses his relative proportions which inevitably creates an awkward figure. This, too, could frequently be avoided by reducing the figure to its simplest form, a toothpick skeleton, before blocking-in the larger figure.

To block-in toothpick skeletons consider the body in four divisions:

1. The head and neck

2. The trunk

3. The thighs

4. The legs %

Start the figure in the usual manner of sketching an oval for the head. The trunk is about twice as long as the head and neck, as also are the thighs and legs.

The vertical line of support will sometimes run through the foot in the foreground, sometimes through the foot in the background, depending upon the one that supports the weight of the body. When the weight is evenly distributed on both feet this line of support will fall equally between the two feet. The figure retains its line of support when springing from one foot to the other.

The arms swing with the opposite feet in walking. The left arm swings with the right foot. The right arm with the left leg.

Strive for a feeling of non chalance, a "natural" feeling in action poses. Create atmosphere for the action you are illustrating. For instance, when illustrating tennis togs sketch a tennis court in the background, or let the model be in the act of playing tennis. Place the figures in the surroundings where the clothes are to be worn. Put a smile on the faces, they should look happy at games and play.

MATERIALS

The economy of good materials has been demonstrated since the beginning of art. Investment in quality is advised not only because good materials last longer, but particularly because they permit of much better work. The artist may exercise plenty of latitude in the selection of types of materials, but he must not compromise on quality.

The one exception to this rule is in the blocking in of the figure. For this work a mere drawing tablet (regulation size 9 x 12) is sufficient. But when you graduate to pen-and-ink sketching and wash drawing, only the best quality of paper and other materials should be used.

Individual preference comes into play in the selection of pencils. Some artists are quite tempermental about their pencils and insist upon a certain type for each thing. The only rule one need follow is to use the type that is easiest for you to work with. When sketching on kid or slick finish paper you may prefer a softer lead than when working on rougher paper. The advanced student will prefer a long sharp point on his pencil, but the beginner can work more freely and easily with a blunt point. Long leads are time-savers, which is an important point with the commercial artist. The writer prefers a Scripto Pencil with long leads. The important requirement of pencils is that they be long enough to keep the fingers and hand from cramping, which means that the wrist and arm should be kept free and flexible.

You will find a tilted board more convenient at the beginning to obtain correct proportions, but with practice you will learn to draw just as well on a flat board.

Art gum is the most popular eraser among commercial artists, but any type of soft eraser is all right.

Use round sable brushes for wash and water-color sketches* Good brushes are essential in wash work and will last indefinitely if kept clean and in good condition.

Always clean your materials after using, but never let them stand in water for a long period. After washing them, point them in your mouth, and if possible keep the brushes standing upside down in a glass* Never use ink in a good brush, but keep a brush for that exclusive purpose.

A dirty pen-point, by preventing a smooth flow of ink, will impair a good drawing; so be sure to wipe off the point each time after using.

Keep your triangle clean by washing it with a soft rag and drying.

The T-Square and drawing board should be kept in a dry place to prevent warping.

CLIPPING FILE

All artists should keep a clipping file of other artists ' work. Photographs should be included in the file. These clippings should be composed of sketches by artists skilled in some outstanding feature. For instance, select samples of Rhys for his excellence of detail; of Eric for his unusual poses. Seldom does one find an artist outstanding in everything; so let your clipping file be broad and contain samples of the good points of many artists' work.

These clippings are to be used for reference and suggestion, but not for copying. A good artist does not copy. Copying is not only unfair to the original artist, but it also retards the copyist's progress. Always strive for originality in your work.

Start immediately to collect clippings of fashion sketches, accessories, textures, backgrounds, etc. Your greatest sources of material will be newspapers, fashion magazines and posters.

File these clippings in folders in alphabetical order according to subject matter. For instance, the folders should be labelled somewhat as follows:

Accessories

Action Poses

Backgrounds

Children

Corsets, Underwear

Evening Dresses

Fabrics

SKETCHING THE HEAD AND FACE

The one place where it is most important to strive for personality and character is in the face. Facial weakness suggests one of two things, - either a lack of knowledge of the subject illustrated, or the weak character of the artist himself. You have doubtlessly heard casual observers say of a sketch "Why, that looks exactly like Miss So-and-so, the artist". And quite frequently it does. The explanation is that all artists inject a certain amount of themselves into their sketches.

Trends in faces change like trends in fashions. Just now cinema stars influence fashion sketches greatly. With the Grecian inspiration so strong in evening clothes this year (1935), we are seeing much of sculptured curls and classic faces that characterise this mode.

There are any number of individual characteristics you can give your faces. No one can tell you what to add or to eliminate in a sketch to give it individuality; that is something every artist must work out for himself. Another person will recognize it when it is there, but he can't tell you how to get it. Some artists express their individuality by omitting the pupil in the eye, suggesting the eye in rather a loose manner rather than a tight detailed drawing while some fill in the entire eye. If the pupil is drawn it should not be shown as a complete circle, but the eye-lid should cover part of the upper portion of it. There should be the width of an eye distance between the two eyes in a front view. The eyes appear to be closer together as the head turns around to a three-quarter view. In a profile view one sees only one eye.

There are many other original catchy details an artist can give his work. Anything in this respect, if not extreme to an obnoxious degree, will make his work appear more professional..

The upper eye-lid moves, covering the eye when it is closed, like a crystal covers the face of a watch. When the eye is opened the upper lid folds up, leaving a line to mark its fold just above the eye. Lashes may be added but generally they are omitted in fashion faces.

It is a good method to attempt a number of original faces (and I mean absolutely original). Strive toward an individual expression. Try many of them. Put these sketches all together and decide upon the type you like best; then try to get that same appearance in all your faces - front view, three-quarters view, and profile view. Of course, you will want to change expressions in your models, but let there be the same general appearance, the same individual characteristics in all your faces. In this way you will develop an individual style that will make your work easily recognizable.

Avoid the theatrical look in faces. A face too heavily made-up diverts attention from the merchandise illustrated and in so doing frustrates the artist's job of selling - indirect selling.

The following instructions are for a front view and may be varied to meet your individual needs:

Construct an egg-shaped oval, placing the larger part at the top.

Draw a vertical line through the center, which is the center of the face in a symmetrical pose.

Now, draw a horizontal line a little above the center of the oval. This is the eye-line and is to be divided into eight equal parts. Connect the second and third spaces in an almond-shaped oval. This is the left eye of the sketch. Connect spaces six and seven, also, in the same manner.

THE ARMS AND HANDS

It is advisable for the student of fashion sketching to be familiar with the anatomical construction of the human figure. He should know the skeleton structure of the limbs , the trunk, and the hands and feet. A few skeleton sketches are included in this book but a more extensive knowledge may be gained through the study of anatomy books and life sketching.

The upper limb is composed of three masses, the upper arm, the fore-arm, and the hand. The upper arm extends from the shoulder to the elbow. It has only one large bone. The forearm extends from the elbow to the wrist and has two bones. The bones of the fore-arm are jointed together in such a way they can move freely, one on another in certain positions. The outer bone rotates over the inner bone. The movement of these bones will influence the contour of the arm.

The hand is composed of two large masses, the hand proper and the thumb. These should be blocked-in first in sketching the hand. The length of the hand, including the wrist, is equivalent to the length of the head. It is three-quarters the length of the fore-arm. The hand and wrist move together as one mass. The wrist is twice as wide as it is thick. The bones of the fingers are attached to a common center in the same manner as petals in a flower. Each finger has three bones. The middle finger is the longest, and is the same length as the palm. The hand is slightly arched across the back, as, also, are the knuckles. The second knuckle is the highest and largest.

The fashion artist exaggerates the length of the fingers, and minimizes the width of the hand. Long and graceful, is the creed for fashion hands.

Make sketches of your own hands in various positions. Work before a mirror and sketch the reflection. This is also beneficial in sketching figures. Be your own model. Study your hands and figure for reference.

Skeleton Structure of the Upper Limb

BLOCKING-IN THE FIGURE

The perfection of modern fashion figures looks deceivingly easy to picture. Actually, it requires just as much practice as any other form of art. The first steps are simple, but the student must study and practise each step before attempting a new one. He must master the fundamental steps of sketching the figure before dressing it.

25, 26, The charts on pages 27, 28, 29, 30 show various dummy figures which the student must practise blocking in. Measure off the heads on the left-hand side and the proportions on the right-hand side. Familiarize yourself thoroughly with them and refer to them when in doubt.

Before starting the actual sketching of a figure the artist must have a mental picture of the pose. It is advisable to sketch from a living model, of course, but when this is impossible the artist must rely upon his imagination or photographs. Even when sketching from a live model a great deal depends upon the artist's imagination - hence the importance of developing this resource to an extremely sensitive degree.

After the general pose has been carefully thought out, the proportions should be blocked in in a rough, free manner and in very light pencil lines. Think only of the figure. The fashion artist should completely forget the fashion or clothes element at the beginning of the drawing.

Always block in the figure in the following manner: Draw an oval for the head, slanting it in the general direction the head is facing. Draw the neck (in a fashion figure the lines of the neck are usually drawn parallel) and locate the pit of the neck. Construct the line of balance, which is a straight line from the pit of the neck to the standing foot, i.e., the foot that supports the weight of the body. This line must always be parallel with the edge of the paper.

Block in horizontal lines for the shoulders and bust at the correct angles. These lines are always parallel. Next, come the waist and hip angles, and here again we have parallel angles. The waist-hip lines are always parallel. It is interesting to observe that frequently these sets of angles (shoulder-bust and waist-hip) are at reverse angles. This is another example of our law of balance. It is possible, however, for all lines of the angles to be parallel.

After these horizontal angles have been properly placed, mark the correct location for the knees and legs, also the arms and hands. Then proceed to block in the masses of the figure, mainly the torso, hips, thighs and legs. Connect these. If at any time you are confused about certain proportions of the fashion figure, refer to your charts.

The hip is always raised on the side that supports the weight of the body, and generally the shoulder is lowered on this side. The leg is always stiff and straight on this side, never bent. The relaxed foot frequently appears to be slightly longer than the standing foot. This is accounted for by the fact that, in the majority of fashion poses, the relaxed foot is in the foreground.

To obtain grace and ease in a pose there must be a balance of weight in the figure. The writer terms this the "S" distribution of weight and bases her theory on the fact that if there is a greater amount of weight on the left side of the line of balance in the torso, it shifts to the right side in the hips, forming a letter S effect. Weight must balance in a figure; otherwise it will seem to topple over. We cannot over-stress the importance of the balance of weight in a figure.

Use the line of balance as a leaning post, as a guide in checking all the proportions of the figure. Compare the distribution of weight on the left with the right. Check the bust measurement with the hip measurement, the left shoulder with the left hip on both sides of the line of balance, etc.- all up and down the figure.

In blocking in figures do not concentrate on the outline of the sketch nor any detailed parts, but think in broader terms. Think of the masses that compose the figure and their relative proportions. The figure must be completely blocked in beforexthe garment is sketched.

THE FEET MP LEGS

The lower limb, like the upper limb, is composed of three masses, the thigh, the leg, and the foot. The thigh extends from the hip to the knee, like the upper arm it has only one bone. The leg extends from the knee to the foot and like the fore-arm it has two bones. In the leg the bones are immovably united, while in the fore-arm they move freely, one on another. The thigh and leg diminish in thickness as they descend to the foot.

There is the presence of a reverse curve in the lower limb, extending the entire length from hip to foot.

The bones of the toes, like the bones of the fingers, are attached to a common center, like the ribs of a fan.

The inside of the foot is straighter than the outside. It is arched but follows a straighter line. The inside ankle is higher than the outside ankle.

The length of the foot and the fore-arm is the same.

The calf of the leg is the same width as the neck.

THE FASHION FIGURE VERSUS THE HUMAN FIGURE

Even though the present-day trend is toward naturalism in fashion sketching, there is still a vast difference between the fashion figure and the human figure. The greatest difference is, as it always has been, in the height of the two figures. The fashion figure is always taller, more graceful and more seductive in line.

The variance in other ways may be summed up in a few words: the fashion figure is higher busted, broader and squarer shouldered, and narrower, very narrow, in the hips. The proportions vary from season to season to exploit more perfectly the current modes, but these are the general high points to remember.

The average human figure is seven and one-half heads tall, whereas a fashion figure may be from eight to ten heads tall, - in extreme mannequin types, as many as twelve heads. However, the height of the fashion figure should be governed by the length of the head and the width of the shoulders. This added height lends sophistication, grace and smartness to the figure - qualities that are envied by the majority of women and therefore enhance the appeal of an advertisement.

There should be a more angular appearance and a more abstract feeling to a fashion sketch than there is to a human figure, but at the same time the fashion figure, to meet modern popular demands, must be natural looking and suggestive of action.

This comparison will illustrate the contrasting proportions of the human and fashion figures. Both figures were started with the same size head as their unit of measuring.

CONSTRUCTION OF THE ANIMATED FASHION FIGURE

Although the Animated fashion figure is the type most popular for newspaper advertising and general use, the fashion artist should be familiar with the proportions of both the Animated and the Mannequin Types. The following proportions are for an animated figure in a symmetrical pose, front view, to illustrate more clearly the correct locations of the parts of the body. Copy this figure exactly, including all the guide lines, and keep it in your permanent file.

The average person will find it easier to draw from left to right and from top of the paper down, but you may proceed in any manner you prefer. As the head is the most useful unit for measuring a figure, it will be used as a measuring unit for all other proportions. One speaks of a figure as being so many heads tall. The human figure is seven and one-half heads tall, whereas a fashion figure is from eight to ten heads tall. The Animated Type of fashion figure is about eight and three-quarters heads tall.

First, draw a vertical line lengthwise through the center of your drawing paper.

Construct an egg-shaped oval at the top of this line with the larger part of the oval at the top. This represents the head.

FABRICS

In recent years so ranch emphasis has been placed on fabrics in fashion that it is necessary for the artist to make a special study of them and learn to capture the spirit of the fabric in each costume he illustrates. In order to depict the difference between chiffon and crepe, between organdy and taffeta, he must become thoroughly familiar with the qualities, the character, the feeling and effect on figure lines, and the relative amounts of light and shadow absorbed or reflected by each.

Outlines tell much of the fabric story. The mere outline of a drape in a chiffon dress tells the observer immediately that it is a soft clinging fabric. But some fabrics drape alike and yet have different characteristics in other ways. In his study of fabrics the artist will soon learn which cling to the figure and which flare from it. When drawing he must also have uppermost in his mind whether the fabric is dull or shiny, transparent or thick and heavy, soft or coarse.

Some fabrics are more easily portrayed in wash, while others are more realistic in pen and ink, but the artist should learn to illustrate all fabrics in both media.

Fabrics may be classified generally into two groups:

1) Those that absorb light.

2) Those that reflect light*

Fabrics that absorb light are dull and are expressed in very subtle contrasts. Either high-lights or shadows are used to show form and drapery, but rarely both. The use of both lends too much brilliance and sparkle.

Fabrics that reflect light are expressed in very bold brilliant contrasts. Both shadows and high-lights are employed. The more contrast in tones, the more sparkle.

Listed below are the most popular fabrics in today's styles and the manner in which they are to be illustrated. It is difficult to list the outstanding characteristics of the fabrics, as there are generally several qualities to each fabric and each quality has different traits. These instructions are based on the most commonly used types,

SATIN reflects very strong light and deep shadows; drapes softly to the figure in most varieties. Slipper satin is an exception to this rule, as it is stiff and stands away from the figure. Satin is extremely shiny and can be illustrated in either pen and ink or wash to equal advantage. Work in bold technique. If a wash treatment is used, tones may be applied in a flat direct manner, confining the number of tones to four, counting black and white. Or the tones may be blended, in which case the high-lights should be left pure white even if the garment is black. Black or very dark shadows are used for all colors of satins.. Pastel tints are used less sparingly. Examples, Pages 79, 80, 84.

In pen sketches of satin the shadows are massed in with black ink. The high-lights remain white. An intermediate value may be illustrated by the use of Ben Day or one of the processed-tone papers. A satin effect may be obtained through only the two values if necessary. Highlights should be bold and gleaming. This shiny effect will be more natural-looking if high-lights are quivery.

DRESSING THE FIGURE

One of the biggest problems confronting the fashion artist is that of dressing the figure. He must, first of all, be absolutely familiar with the human figure and capable of making the garment appear to be on a body, not on a flat hanger. The dress should be placed on a model, preferably a live model; but when one is not available a dummy mannequin may be substituted. Seeing the dress on a figure will aid the artist greatly in sketching it.

Nearly every woman has a definitely personal reaction to clothes. When she sees an attractive dress or an illustration of one, she immediately visualizes it on herself. If the dress is well-modeled or well-pictured, she feels that it would be attractive on herself. And that is the way you must strive to make her feel. The artist may be able to illustrate a dress so attractively that many women will feel they cannot live without it.

At the same time, the artist must not sacrifice accuracy to flattery. Extreme flattery is misrepresentation which frequently results in a negative reaction and definitely deters the sale of the article advertised. If, however, the sketch does not do justice to the article, it will not create a desire in the consumer, and the artist will have failed in his efforts at indirect selling. It is therefore, of the utmost importance that the artist learn to make the most of his subject's possibilities when illustrating.

With these points in mind, carefully study the garment to be illustrated. Is it more interesting from a fashion angle in the front or in the back? Fashion artist must observe current fashions in shops, read about them in authentic magazines, and study photographs and illustrations to enable them to recognize the new modes and to illustrate them accurately.

After you have studied the costume, visualize it on the type of person that could wear it most becomingly. Would it

look best on a matronly figure? Could a young co-ed wear it most successfully? Or would it be most effective on a sophisticated young woman in her thirties? These are questions you should determine before starting your sketch. Remember that the effect of a sophisticated gown is entirely ruined on a demure model, and vice versa; so study the costume and strive for harmony and personality in your sketch.

After the figure has been freely, but carefully, blocked in and all unnecessary lines erased, visualize a line through the center of the figure. This should not be confused with the line of balance which by this time should have been erased. Visualize, also, the center of the dress and place it on the center of the figure. Sketch all lines and trimmings of the dress in proportion to, and correct location on, the figure.

The artist should strive always to get the contour of the body under the dress,-to show that third dimension, thickness. The contour of the body will influence certain lines of the dress. For instance, the position of the legs will determine the folds and lines of the skirt. If the skirt is circular or cut on the bias, it will cling very snugly to the waist and hips, then flare out (the amount depending upon the fullness) around the thighs and hemline. If the skirt is cut straight, the outline will follow the body line to the hem. There is very little variation in the width of a straight skirt from the hipline down, although it may appear a little narrower around the knees. If the straight skirt has lines or pleats in it, these lines will be influenced by the position of the legs and will follow their lines.

In a front view a few wrinkles should be placed across the abdomen and pelvis. These wrinkles will pull from the hip on which the weight of the body is resting. Frequently they are extended to suggest the position of the legs.

The bottom of the skirt should never be sketched straight across, but, rather, should have the general feeling of a rectangle. If it is drawn straight, it has the effect of being on something flat instead of being on a body that has thickness. Curve the rectangle at the sides to lend the appearance of going around the figure. The hemline will appear to be longer over the leg in the foreground or the foot nearer the artist. Strive for rhythm in the lines expressing the folds of the skirt.

If the dress is belted and the belt fits snugly, make your sketch of it on straight lines across the front, curving it on the sides. If it were curved all the way around it would give the impression either of being on a fat waistline or of being too large for the figure, - drooping effects which should be avoided in modern styles.

DEVELOPING ORIGINALITY

Most beginners have a good deal of inhibition about creating original fashion sketches. A few pointers will help to dissipate that by showing how simple it is to acquire originality.

First of all, don't worry about it. It will come naturally after thorough groundwork and practice. Much will be learned about the figure by blocking in poses from other artists' sketches. For instance, take an authentic pattern pamphlet. Use the pose of one figure for your sketch and the dress of another (preferably a different pose). This changing of poses and dresses is an excellent exercise for the amateur.

It is also perfectly legitimate to use a figure in your clipping file as a suggestion for a pose. However, the artist should never copy another sketch or pose exactly. If he is using a sketch for a suggestion, he should change some part of the pose* If the model in the clipping has both hands on her hips, place one hand on her hat or down at her side, or turn the head for your sketch.

Photographs offer another means of developing originality and are especially recommended for wash drawings. The clearness of the highlights and shadows in a photograph enable the artist to see just where to place them in his sketch. Nearly all fashion magazines reproduce pictures of smartly dressed women. Practise copying them, remembering to change the figure to fashion proportions.

The best method of all for creating original sketches is to have a live model pose for you. Let the model take her pose, and you study it. Study the action of the figure, the way the dress fits the figure, the general effect. Without the use of the model start your sketch, striving to capture

the same action and feeling of the original. Drawing from memory allows more freedom in your work and greater naturalness, for the eye retains only the important features of the pose and eliminates minor details that stiffen the effect.

Individuality of style may express itself in a particular type of garment. For instance, one artist's work may be outstanding for dresses; another's may excel in men's apparel. Free-lance artists should be classified according to their ability to draw certain things.

CONSTRUCTION OF THE ANIMATED FASHION FIGURE

Although the Animated fashion figure is the type most popular for newspaper advertising and general use, the fashion artist should be familiar with the proportions of both the Animated and the Mannequin Types. The following proportions are for an animated figure in a symmetrical pose, front view, to illustrate more clearly the correct locations of the parts of the body. Copy this figure exactly, including all the guide lines, and keep it in your permanent file.

The average person will find it easier to draw from left to right and from top of the paper down, but you may proceed in any manner you prefer. As the head is the most useful unit for measuring a figure, it will be used as a measuring unit for all other proportions. One speaks of a figure as being so many heads tall. The human figure is seven and one-half heads tall, whereas a fashion figure is from eight to ten heads tall. The Animated Type of fashion figure is about eight and three-quarters heads tall.

First, draw a vertical line lengthwise through the center of your drawing paper.

Construct an egg-shaped oval at the top of this line with the larger part of the oval at the top. This represents the head.

Mark off eight heads on the vertical line, numbering each head on the left of the page, i.e.: 1st Head, 2nd Head, etc. As you fill in the proportions mark in the identifications on the right-hand side, i.e. Shoulder-line, 'waist-line, etc.

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Drop down one-half of the second head for the shoulder line. Here, too, is located the pit of the neck. The shoulders should be approximately one and three-quarters head wide. The arms extend slightly over this mark.

The neck is about one-third of a head in width, and the lines of the neck are drawn parallel in a front view.

One-eighth head down from the second head mark is the bust line. Strive for a youthful, uplift feeling in the bust.

The waistline is at the two and three-quarters head mark and is one head wide.

At three and one-third heads is the abdomen.