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How To Draw Clothes.

Use matting, I prefer using mats with the framing of my drawings. If an acidic matting is use, it must be backed by an acid-free material that will act as a territorial barrier between the matting and the drawing. There is a standard thickness that is necessary and preferred in the industry for this buffer or barrier. The same reasoning can be given to the backing of your drawing. If your drawing or art is backed or mounted on an acid-free material, the barrier is avoidable . Some framers use a foam-core board for backing.

Stay away from black, As a general rule, I always stay away from black, especially solid black-although, it could work if is part of a color scheme with a particular molding and if it is not overpowering the drawing. It`s good to have something that has a range of values-including molding and mats, working as a set. Even with the values and gradations created within the graphite media, the mat or mats and the frame can all be selected to either compliment, subdue, or emphasize any particular value or aspect of your drawing.

The drawing must be cleaned well, removing smudges, dust, or eraser fragments. To see if there are any tiny fragments on your paper or drawing, you should look at the make progress trimly from a severe angle, so that you could notice them contrasting from the paper`s arise as they rise up. You can use a brush or compacted air to remove the fragments from the framing material.

It`s how your fulfilled artwork is presented that makes all the difference. Although it`s tempting to purely area your drawing in a ready-made frame, there are many things that you must take in rumination,cogitation before framing your artwork to insure it is adequately safeguarded over the years.

Utilisation acid- costless materials, Whatsoever matting, tape measure or adhesive, barriers, or support that you utilisation in the framework of your fine art or drawing can be absolutely acid free. Acidic materials, after long periods of time could actually damage the artwork in the frame by distorting the definite paper or by turning the paper a yellowish color.

Let your artwork breathe, In attaching the drawing to the backing or whatever secures its plight within the mats or frame, it can only be secured at the top and allowed to hang if an adhesive or tape is used. It should not be secured gravely at all four corners or around its perimeter, because the humidity changes persistently and the paper has to have freedom to flex, expand, and contract. Otherwise, the paper will ripple or develop trains if it is confined in any manner streams in the paper become extremely apparent when the lighting is directional or at an angle to the framed piece of art. The light causes highlight and shadow because of the contours in the paper. Some framers are using a large plastic photo type corner that allows the paper to slide in and be secure at all four corners and still allow for the flexing of the paper. It seems to be working quite well, as several of my drawings and illustrations using other media on paper, have been framed this road for a number of years.

Add a territorial dust cover, After attaching the art and framing materials to the actual frame, a dust cover should be used on the back to keep supplementary dust, spiders, or bugs from entering the framed photograph compartment. This is usually done by using a two-sided tape on the back approach of the molding all the system around the perimeter. Then a piece of brown paper is laid down on the adhesive fall as it is not stopped until flat as you press it onto the adhesive crop up . You then trim the outer edges of the brown-colored paper to fit and then you are ready to attach your hanging wire, before placing your artwork on display.

The glass must be wonderfully clean and should be tested for finger prints, dust, hair, or other far-off material, before securing it lastingly in the frame. You can have to do this more than once.

Forever bod with glass, I would ever framework with glass, simply I would also spend the special money for the UV shelter glass. However, I would never use non-glare glass or plexiglas.

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Illustrate your original design. Think about what look you’re trying to create, and represent it down to the last detail. If you’re designing a dress, for example, add patterns, ruffles, text, bows, and so on to create a beautiful piece.

Focus on the elements of your design that are unique, and include appropriate accessories so that the style you’re going for is clear.[1] If you need some fresh ideas or don’t know where to start, look up fashion trends on the internet or in magazines for inspiration.

Here are three more sleeve examples. These sleeves are not as loose as the one shown above, and all stick pretty close to the arm. In these examples, the cloth is stretched from the arm to the shoulder and torso, rather than being pulled down mainly by gravity. There isn’t enough material to be pulled down too greatly. Since the fabric is pulled horizontally, the folds should reflect this. The best example is the top picture here; notice how the folds move towards the shoulder instead of towards the ground. The sleeve in the middle picture is a little looser, and is pulled down by gravity more. The sleeve in bottom picture is big and loose, but is rolled up at the elbows, and thus doesn’t hang and droop as much as the sleeve in the previous example.

Learn how to draw folds, wrinkles and pleats. Use different types of lines to create different creases in the fabric you’re drawing. Knowing how to draw folds, wrinkles and pleats will help you illustrate the structure of the garment.

[3] Folds can be drawn using loose, wavy lines. Use circular patterns to show wrinkles. Take out a straight edge to draw exact pleats.

Finalize the drawing with shading, ink and color. Use thick black ink or paint on the lines that you want to keep. You can erase the body shaping lines and any stray pencil marks at this point. Finally, carefully color in the clothing using hues you want your designs to have.

You can color in the clothing with markers, ink or paint. Mix colors and use a variety of shades to illustrate your designs. Really imagine the design moving towards you under spotlights on a runway when you’re working on shading and texture.

Deeper folds in fabric will result in darker shades of the color you’re using. Where fabric is hit by the light, the colors should appear lighter. Adding features like hair, sunglasses and makeup is a nice final touch that will make your fashion sketch come to life.

What classes do I need to take to become a fashion designer?

Use shadow effects using pencils, color pencils, crayons, tints, and many others. Make sure you know where you should put shading like shadows and where you shouldn’t.

Gather materials. Choose a hard lead pencil (H pencils are best) that makes light, sketchy marks that are easy to erase. Marks made with these pencils also don’t indent the paper, which is helpful when you want to add color to the image.

A good quality eraser and thick paper are also important materials to have if you want your sketch to look professional. If you don’t have the right type of pencil, you can do a sketch with a number 2.

Just remember to make very light marks, rather than pressing hard on the page. Drawing in pen is not advisable, since you won’t be able to erase marks you make. You will also need colored markers, inks or paints to illustrate your clothing designs.

Fill in the legs. The legs should be the longest part of the body, the length of about four heads. The legs are also portioned into two pieces, the thighs (from the bottom of the pelvic box to the top of knees) and calves (from the bottom of knees to beginning of ankles).

Keep in mind that fashion illustrators usually exaggerate the model’s height by making her legs longer than her torso The top of each thigh should be approximately the same width as the head. Taper the width of each leg from the thigh to the knee.

By the time you reach the knee, the leg should be one third the width of the bigger portion of the thigh. To draw the calves, taper down to the ankles. Each ankle should be about one fourth the width of the head.

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Finish with the feet and arms. The feet are relatively narrow. Draw them like elongated triangles that are about the same length as the head. Construct the arms like the legs, tapered toward the wrists.

Make them longer in proportion to the torso than a real person’s arms would be, since this gives a more stylized impression. Add the hands and fingers last.

In the fashion world, new designs are presented in the form of hand-drawn sketches before they’re actually cut and sewn. First you draw a croquis, the model-shaped figure that serves as the base of the sketch. The point is not to draw a realistic-looking figure, but a blank canvas of sorts on which to display illustrations of dresses, skirts, blouses, accessories and the rest of your creations. Adding color and details like ruffles, seams and buttons helps to bring your ideas to life.

Illustrate patterns and prints. If your design includes a patterned or printed fabric, it’s important to accurately illustrate how it will look on a model. Start by drawing the outline of the patterned garment, such as a skirt or blouse.

Divide it into a grid with different sections. Fill in the sections one at a time with the pattern on the fabric. Pay attention to how folds, pleats and wrinkles change the appearance of a pattern. It may need to bend or be cut off at certain points to look accurate.

Take the time to draw the pattern in detail and make sure it looks the same across the entire grid.

It varies from person to person. Technically speaking, you can learn how to do this very quickly–but it may take a few weeks or even months before you become good at it and produce work you can be proud of.

Once you get the technique down, you should practice as often as you can–preferably every day.

Decide on a pose for your croquis. The model for your design, called a croquis, should be drawn in a pose that will show off the items best. You can show the model walking, sitting, bending, or in any other position.

As a beginner, you may want to start with the most common pose, which is a runway sketch that shows a model standing or striding on a runway. This is easiest to draw and it will allow you to illustrate all of your designs in full view.

Since you want to illustrate your designs in a way that makes them look professional and appealing, it’s important to model them on croquis that are well-proportioned and well-drawn. Many fashion illustrators practice drawing hundreds of croquis to perfect their ability to create a variety of poses.

Three Parts:Starting Your SketchDrawing a CroquisDrawing Clothes and AccessoriesCommunity Q&A

Look in magazines and clothing catalogues for inspiration and ideas. If you have a favorite designer, collect pictures of their work, and keep them in a folder. You can also trace over photos for practice.

Once you get the hang of it, you can start drawing your own fashions without references.

One small but important thing I would also like to go over before continuing is the effect that stripes can have. If you are drawing clothing that has stripes or a pattern on it, make sure that the pattern moves along with the rest of the fabric. Where the cloth bends, the stripes and patterns will bend, as well. This can be difficult to draw and shade, especially when you are dealing with complex patterns, but it can add a really nice three dimensional look to your picture.

You don’t have to know how to draw to be a fashion designer. Something that you can do is look at different books on how to draw, so that you can do simple sketches of your designs. Also, the more you practice drawing, the better you will become.

If you are going to go to college for fashion, then there will be classes that can teach you draw and sketch.

Draw the torso and shoulders. Extend the torso lines upward from the two corners of the pelvic square. The torso should extend upwards, bending in midway at the waist and extending out again at the shoulder.

As with a real human body, the shoulders should be the same width as the hips, or the top of the pelvic box. When you’re finished, the torso should look like a normal torso you would see on a body. Refer to pictures of models in magazines or advertisements for reference.

Notice how the waist is smaller than the lower portion of the body and hips. The torso should measure about two heads in length. It’s common to sketch the shoulders and hips tilted in opposite directions, in a position called contrapposto, or counterpose.

This gives the impression of movement. Draw the waist as a horizontal line that’s shorter than the shoulder and hips lines. Pay attention to bend lines (the curve of the rib cage, etc.) as those angles and lines are crucial to creating a figure that doesn’t look like it has dislocated body parts.

Start drawing the pelvic area first. Draw a square with equal side lengths on the balance line just below the middle, where the pelvis is naturally positioned on the body. Size the square according to how wide you want your model to be.

A thinner model would have a smaller square width than a plus-sized model. Keeping your desired pose in mind, tilt this pelvic square either left or right. For example, if you want your model’s hips slanted to the left, tilt the square slightly to the left.

If you want a normal standing model, just draw the square upright without any angles left or right.

How can I get into fashion design if I’m not good at drawing?

Español: dibujar figurines de moda, Português: Desenhar Croquis de Moda, Italiano: Disegnare un Figurino di Moda, Русский: рисовать модные эскизы, Deutsch: Eine Modezeichnung entwerfen, 中文: 画时装草图, Français: dessiner des croquis de mode, Bahasa Indonesia: Menggambar Sketsa Mode, Čeština: Jak kreslit módní návrhy, Nederlands: Modetekeningen maken, العربية: الرسم التخطيطي للأزياء

Consider making flats. In addition to making a fashion illustration, you may want to create a flat schematic. This is an illustration of your clothing design that shows the flat outline of the garment, as though it were laid out on a flat surface.

It’s helpful for people viewing the design to see the flat version as well as the way it would look modeled on a body.[4] Flats should be drawn to scale. Make an effort to create illustrations that look as exact as possible.

[5] You should include a back view of your flats as well, especially of the back of the design includes unique details.[6]

There are many ways of drawing a skirt, such as sitting down, in the wind, standing, hanging, just as a skirt, etc. The number of wrinkles and amount of frills you want to add to the skirt matters too.

An easy way to start is to look at the skirt drawing of others and then find your own style. For some ideas and illustrated examples, see further: How to Draw a Skirt.

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It really depends on the size of the person, but the head should be about 1/8 of the height.

Here are a few more random examples, of a bow and some sleeves. The most important thing to note here is the shape of the folds at the joint of the sleeve in the middle.

Sketch the neck and head. The model’s neck should be a third the width of the shoulder and half the length of a head. After drawing this, sketch in the head, which should be in proportion to the body. The bigger the head, the more juvenile or younger the model looks.

You can erase the initial oval you drew to represent the head. Draw the head so that it looks natural with the pose you have selected. You can tilt it slightly up or down, or to the right or left.

The most important thing to consider whenever you are drawing clothing or any type of fabric is the direction the fabric is going to be pulled in. Folds are caused wherever the fabric is being stretched or pulled; figure out how exactly you want the fabric to move, and the rest is pretty easy. Always remember to consider the figure beneath the clothing; the cloth should reveal the shape of the figure beneath. I’ll go into more detail on this later.

Now that we know a few of the basic shapes of folds in fabric, let’s move on and see how clothing should look when it is actually being worn by someone. At the left, we have an example of a very loose, draping sleeve. As mentioned before, the main thing to consider is which direction the fabric will be pulled. The sleeve here is being pulled in two main directions: downwards because it’s pulled by gravity, and to the left because its attached to the main garment and is being stretched across the arm and torso. The folds in the sleeve will follow the direction that the cloth is being pulled. Notice also how the cloth bunches up around the wrist. This isn’t necessary, but it does indicate the length and looseness of the sleeve.

Don’t worry about adding much detail to the face, unless you have specific makeup in mind to go along with your outfit. Some people like to draw their models extremely skinny. Draw your model realistic.

It will help you when you come to selecting garments and sewing the outfit. It’s often easier to leave the facial features off altogether and just sketch a few lines for the hair. You want the focus to be on the outfit.

Stick the material that you were going to use next to your design so you know what you’re using. Adding texture to the clothes is tricky and may take some practice.

How do I make my sketches look more realistic using color pencils?

Begin by printing out some simple designs with clear outlines. Then, put a piece of paper over this drawing, and sketch the outline. Once you become familiar with doing this by imitation tracing, it its easy to gain the skills needed to do the sketches by yourself.

Practice like this every day for at least a week and you’ll start to feel more confident about doing it your own way.

Observation. Try to observe people – the way clothes fit and the way they carry themselves. Consider drawing the elbows, knees and ankles with perfection. Recollect the poses you see, and pay attention to the folds, pleats and wrinkles of the dress.

At the left are some examples of basic types of folds. Notice the movement of each example shown; the fabric flows downward on the top left two, for they are being pulled down by gravity. This type of fold would be on something that hangs loosely, such as a cape or long shirt. On the lower left and upper right examples, the fabric is not only pulled by gravity, but stretched to the left (probably by an arm that is underneath the clothing). The folds become more horizontal than vertical the further it is stretched. Also notice how sometimes the folds are nested within one another. This will often occur at joints or areas in which loose clothing is bunched up. The lower right picture is a slightly more complex example of a more inert piece of cloth being pulled in a viarety of directions. Notice how the folds follow the direction that the cloth is being pulled in.

Here are a few more examples of basic fold shapes. On the left, the cloth is being pulled downwards by gravity and to the right by wind or motion. On the left, the long strip of cloth is bunched up near the top. Remember to use shading to give your subjects more form. Generally, you shade along a fold line, or on any places that you think a shadow would be cast. This takes some getting used to. It helps to look at actual folds sometimes to see where to shade. Sometimes, I’ll sketch the drapes or a towel hung over a chair just to practice and get a better feel for how clothing is shaded.

These are some more complex, overlapping and nested folds. The more detail you put into the folds, the more interesting it will look. On the left, notice how the fabric bunches up where it is tied together; the weight of the fabric pulls it down and causes extra creases and folds to form where it is gathered together. The tie itself is drawn with lots of detail, and the cloth beneath it blows loosely in the wind. The fabric is shaded around the folds and in the crevices formed by the cloth. On the picture to the right, a length of fabric is draped upon the floor; notice how the folds nest in one another and overlap, creating an interesting effect.

Sketch the clothes boldly. Since the purpose of a fashion drawing is to showcase your design ideas, use a bolder hand when you’re drawing the clothing. Sketch the clothes so that they appear to hang on the croquis in a realistic way.

There should be creases around the elbows and at the waist, as well as near the shoulders, ankles and wrists. Think about how clothing hangs on a person and replicate that on your model. Remember that different fabrics and structures lie on the body in different ways.

If the fabric is thin and silky, it will rest on the body and drift away, almost billowing. If the fabric is thick like denim or wool, it will be boxier and will show less shape of the body (think denim jackets).

Try to illustrate the texture of the fabric you’re drawing, whether it’s smooth, coarse, stiff or soft. Add details like sequins and buttons to make the drawing look more realistic.[2]

Critique is a very good starting point. Show friends your sketch, ask for their opinions, let them point out the flaws of the design. Constructive criticism is very important in skill and self-development, so embrace it.

These are some miscellaneous bits of clothing that didn’t fit into any of the other sections of this tutorial, but that I wanted to include anyway. In all these examples, try to identify where the cloth is being pulled towards and in what direction (for example, is it being pulled roughly towards the shoulder, or draping loosely over the subject?). Always remember to shade wherever the light doesn’t fall, such as grooves, areas inside the folds, and places where the cloth overlaps.

Consider alternate methods for creating a croquis. It’s nice to be able to draw your own croquis, since it allows you to create a model to the exact proportions you want. However, if you want to jump straight to drawing your clothing designs, there are a few shortcuts you can opt to take: Download one online, where you’ll find them in a range of shapes and sizes.

For instance, you can download a croquis in the shape of a child, a man, a petite woman, and so on. Make a croquis by tracing the outline of a model from a magazine ad or another picture. Just place a piece of tracing paper over the model you like and lightly created an outline.

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Another thing I want to point out is the thickness of the fabric in question. The fabric on the top example appears thinner than the fabric in the lower example. Take note of both collars. On the top, the circular rim of the collar connects directly to the rest of the collar, while on the bottom, there is a space between the circular rim and the vertical part. The same applies to the edges of the cape. While on the top example, the edge is crisp and thin, on the bottom example there is extra space between the rim and the rest of the cape. This extra space makes the clothing look more thick and heavy.

Draw the balance line. This is a the first line of your sketch, and it represents your model’s center of gravity. Draw it from the top of the head to the tip of the toes, along the backbone of your croquis.

Now draw an oval to represent the head. This is the base of your croquis, and from this, a proportional drawing can be made. You can think of the croquis as the skeleton of the model. The balance line should be a straight vertical line, even if you want the model to pose in a leaning position.

For example, if you want the the model to be posed with her hips tilted slightly to her left, draw a straight balance line in the middle of the page. You want this line to extend from the top of the model’s head to the ground that she is standing on.

Note that when you’re designing clothes, a proportional model isn’t required, because the clothing is what is being showcased, not your figure drawing skills. Don’t worry too much about creating an accurate looking model or adding features to the face.

All kinds of pencils are suitable. However I’d encourage you to get one from an art store instead of Walmart for example. Good and cheap brands like Faber Castell and Staedtler are used by professional artists, too! HB and H pencils are the best for sketching in my opinion.

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