HOW TO CREAT FASHION ANATOMY AND POSES DRAWING
Once you have perfected these skills and achieved a physiologically accurate figure, it is important to allow your individual style to develop, and this chapter contains a wide range of different examples across a mix of mediums and styles that should provide inspiration. It is easy to personalize the figure by varying the skin tone, hair, make-up, and so on, and you should try out lots of options. Choosing the styling and look of your drawn figure is just like choosing a live model for real garments; the look and attitude have got to be right for the overall success of the illustration.
Once perfected, this template can be placed underneath a drawing sheet and you can loosely trace the shape of the figure. In addition, you can reduce or enlarge the size of the figure on a photocopier or computer so that it can be used for drawings of almost any scale, as well as replicating numerous forms that can be used to depict a fashion collection.
PROPORTIONS OF THE FASHION FIGURE
All fashion artists apply a certain amount of creative license to the proportions of a drawn figure – some more so than others. This is because elongating a figure enhances the appeal of the design. The extent of the exaggeration can depend on the final outcome and purpose of the piece, but a fairly standard female fashion figure is seven and a half to eight and a half heads tall, and a male form is around nine heads tall.
It helps when drawing a figure to think of it as a human body, envisaging the skeleton that supports it, the organs it encases and protects, how and where it bends and twists, the joints and muscles that enable those movements, and the distribution of weight and how that shifts as the body moves. It is equally beneficial to consider the physical space that the body occupies, and how perspective affects our view of that space. Taking life-drawing classes can be hugely advantageous as it will expand your knowledge and experience of drawing the human form and probably enable you to try out a range of media too. As with anything, practice makes perfect.
These sketches show a simple static pose and demonstrate how a stylish figure can be drafted using heads as a measurement guide.
Note the characteristic differences that define a male and female form: the female figure has narrower, sloping shoulders, a smaller waist, and larger hips (approximately the same as the shoulder width) than the male. Her bust is rounder and placed about midway above the waistline, while the neck and limbs are slimmer and less muscular. The male figure, on the other hand, has shoulders that are wider than his hips, a thicker and perhaps shorter neck, and his body is proportionately a little longer, which results in a lower waistline and a more square-shaped chest that sits a little higher than midway above the waist. The limbs are heavier and generally a little more muscular and larger feet plant him more firmly on the ground. Many designers and illustrators often initially struggle to draw male figures that look convincing yet stylish, but with practice, this can be mastered. This straight-on pose is the simplest to draw and allows numerous easy options for arm positions. It is clear and simple to ‘dress’ in garments.
Here we depict a whole family of figures, each with its own characteristics which must be taken into consideration when drawing in order to depict proportions accurately. The fact that children have very different growth rates makes it difficult to create a definitive proportion template for each age group. As any parent knows, the size of garments for a specific age range can vary tremendously from brand to brand. If you ever have to design or draw for a childrenswear company they should supply their own size charts. There are, however, some general guidelines:
• A baby’s head makes up about one-quarter of the total body length. By the age of one, the head is about two-thirds the size it will be when fully grown, so most of the growth thereafter will be seen in the body and limbs. Babies have short, almost invisible (from an artist’s perspective) necks and large round torsos. Their small, chubby limbs are bent rather than straight.
• Toddlers usually have a body that is about four and a half heads high. The shoulders are about the same width as the head height, and they have quite cylindrical bodies, sometimes with quite round tummies. Poses should be fairly static for a toddler, as they are just learning to stand and walk, so the feet are firmly planted on the ground.
• Small children are about five heads tall. Since these lively little people rarely keep still they can be depicted in more active poses.
• Bigger children range in height from six to six and a half heads, although by this age boy and girls can have very different heights. They still have cylindrical torsos and a very straight-up-and-down silhouette, although older girls, from about the age of nine or ten, may start to have a slight indentation at the waistline, which is higher than a boy’s. Older boys have longer torsos, slimmer hips, and slightly wider shoulders than girls.
• By the teenage years (sometimes called Junior in stores), children’s height can be seven or eight heads. As hormonal changes take place, male and female forms become more pronounced, and the proportions of the teenage body are quite different from a younger child’s. Boys have lower, slimmer hips and much longer torsos, which makes the arms and legs appear shorter. The differences are also apparent in head sizes, with girls having smaller heads and more petite facial features, which in boys tend to become more angular. As the body mass increases with age, the difference in muscularity between the genders becomes more apparent.
PROPORTION AND CHARACTER
As we have seen, a body height of around seven and a half to eight and a half heads is used for a stylish but not over-stylized female figure and is pretty much an industry standard. However, having adhered to this basic guide, you can now add individuality and personality with facial features, make-up, and hairstyling. In addition, when the project allows more scope, you can have some fun with proportions. Large heads can lend a character a funky alien quality or be naïve and endearing. Similarly, heads that are too small can be comic and engaging, or perhaps slightly insect-like or even sinister! Over-elongated and attenuated figures are very striking – think of the sculptures of Alberto Giacometti, which are on the one hand tall and shadowy yet on the other amazingly stylish and elegant. Exaggerated large feet that plant a figure firmly on the ground can make the character appear quite tough or, conversely, surprisingly childlike.
By all means, do an experiment, but keep in mind that if the body is over-exaggerated then it may be difficult, if not impossible, to fit in important details when you create an outfit. If your template adheres to classic proportions the design process is usually easier and you will avoid unnecessary problems. Experimentation and critical evaluation of both the drawing style and the content will help you achieve the right balance between wit and individualism and sound artworks that will showcase a design in a believable and attractive manner. If you do choose to follow a more offbeat path, support the illustration with a set of clear flats (see here), which will resolve any potential difficulties when actually creating the garments.
STANDARD STRAIGHT ON FRONT AND BACK VIEWS: WOMEN
Here we see how to draft a simple straight-on pose, viewed from the back and the front. You can see how the construction lines can be helpful when establishing the garment’s design lines and proportions. Most designs need to be shown from the front and the back in order to fully explain the design.
The template also enables you to vary the position of the arms and legs. This is important because you may need to illustrate a detail such as the drape of a skirt or the volume of a sleeve, and altering the pose of the figure will enable you to accurately portray these design features.
STANDARD STRAIGHT ON FRONT AND BACK VIEWS: MEN
The same basic guidelines apply when drafting a man’s template.
USING PHOTOGRAPHIC POSES TO CREATE A TEMPLATE
The first step when choosing a photo of a model upon which to base a figure is to look through magazines or a collection of tearsheets and choose a pose you like – one that suits the mood of your project. The next stage is to replicate the pose by tracing the figure. You will probably notice that the proportions of this real model
seem too short and inelegant when compared to the templates described here, so you need to impose a little creative license and adapt the drawing so it is more in keeping with other fashion figures.
Using tracing paper, or layout paper if you have a lightbox, carefully draw slightly inside the outline of the photographed figure to slim it down into a fashion figure. You should also slightly lengthen the neck and make the head a little smaller too. Add proportion and balance lines down the center of the figure and across the shoulders, waist, and hips, as these will help you add clothes to the finished template.
Now look again at your newly outlined figure, without the photograph underneath it. You may need to slightly refine its proportions and appearance.
Once you are happy with the outline, either ink it in with a fine-lined fiber-tipped or rollerball pen and erase the pencil marks, or simply photocopy the pencil drawing – the lines should come out black enough to use the copy as your template.
An alternative method is to use scissors or a craft knife to carefully cut out the model. You can then slice the figure widthways into six pieces, slicing across midway each time between the ankles and knees, the knees and the top of the legs, the wrists and the elbows, the elbows and the armpits, and finally across the neck. On a clean piece of paper reposition the photograph, leaving even gaps between the pieces to lengthen the figure to the desired proportions, making sure everything lines up. Once you are happy with the general look, use clear tape to secure the lines up. Once you are happy with the general look, use clear tape to secure the pieces in position and place a sheet of tracing paper on top. You can now trace the outline of the elongated figure. If the final outline is too long, use a photocopier to reduce the template to the correct size. Both of these techniques can be used for creating templates for men, women, and children.
DRAWING HEADS
Having refined the pose of your figure you can now transform it into a model, with an image and identity. Facial expressions are key to creating an attitude or mood, and hair and make-up are strong indicators of the period. Collect pages from magazines for ideas and inspiration.
Most heads are roughly egg-shaped, and the length of the face is generally the same as that of the hand, which is a useful guide when establishing proportions. Practice drawing a simple, expressionless face to start with, then as your confidence and style develop you can begin to experiment with facial features and expressions to lend the model character.
DRAWING A FEMALE HEAD
1.Drawaneggshapeandtwolinestomarkoutaneck.Drawaverticalcentrelinethroughtheoval.Thismidlinewillbeusedtomarkoutthepositionof the features. Rememberthatiftheheadtiltstooneside, the line will.
2. Drawahorizontallinehalfwaydownthehead.
3.Drawinalmond- shapedeyesonthehorizontalmidline, placing them about an eye's-width apart
4.Markthepositionsofthenoseandmouthbydividingthelowerhalfofthefaceintothirds.
5.Tomarkoutthewidthofthenoseandmouth,drawdownwardverticallinesfromtheinneredgeoftheeyetogivethewidthofthenose, and the inner edgeoftheiristoshowthewidthofthemouth. Youcanalsoroughlycheckthewidthoftheneckbydrawinglinesverticallydownfromtheouteredge of the eyes.Thetopoftheearsshouldroughlyalignwiththeeyebrows,andthebottomwiththebaseofthenose.
6. Tryaddingsomehairstyles. Remember,drawinghairdoesnotinvolveshowingeveryhaironthehead–that’snotwhatyouseewhenyoulookat someone. It’stheoverallshape,colourandmaybeasenseofmovementthatmakeanimpression,andthisoveralllookiswhatyoushouldtryto produce.Thehairstyleyouwanttodrawwillaffectyourchoiceofmedium.Forfashiondesigners,thehairissecondarytotheclothes, and they aim merelytogiveaquickimpressionofastylethatworkswiththelook. Afewdeftstrokeswithabrushpencanoftenbeveryeffectiveand, with a little practice,asmudgeofoilpastelcanproduceawonderfulPre-Raphaelitemaneorafrizzy‘Colette’bob.Roughscribblesrarelyworkandtendtolook messyratherthanchic. Have fun experimenting.
7. Thesameprinciplesfordrawingaheadfront-onapplywhenshowingathree-quarter view.
8. Thesameappliestoaprofileview.
9.Herewecanseethatthehandisroughlythesamelengthastheface,fromthehairlinetothechin.
Men’s heads are frequently proportionally a little larger than women’s, and following this guideline certainly helps to make a fashion drawing work better. Begin with a very basic shape. Here the egg shape is somewhat squared off and the squarer chin and jawline give the face a masculine look. The neck will also be a squarer chin and the jaw line gives the face a masculine look. The neck will also be a little thicker than a woman’s.
Again, when adding hair you’re drawing an impression of shape and color, not every strand. A broad stroke with a marker pen or a few waves drawn with a brush pen should suffice. Practice drawing people you know and using tearsheets from magazines as additional references for styles.
DRAWING HANDS AND FEET
The hands and feet are often the body parts many people struggle to draw, and innumerable half-decent illustrations have been spoiled by the presence of claws or mittens for hands, blobs for feet, or tapering-out legs and no feet whatsoever.
Remembering the guideline that the length of the hand should match the length of the face will help you to get the right scale and proportion. Another useful rule is that the distance from the wrist to the beginning of the fingers is approximately the same as the length of the fingers themselves. The trick is generally to keep it simple, with minimal details, and to break down the construction into basic shapes.
The illustrations above show a female hand and foot in various positions. Have a go at copying the drawings, then try drawing your own hands and feet.
The same proportions apply to men’s hands and feet, although men’s hands are generally larger than women’s and a little chunkier. Simple, relaxed poses work best.
EXTRA POSES AND MOVEMENT: WOMEN
THREE-QUARTER AND SIDE VIEWS
When choosing a pose that best showcases a design, it is often useful to be able to draw three-quarter and side-on views in order to reveal certain design features. The same basic rules used for straight on or back views apply, but drawing a figure from a three-quarter or side-on angle is a bit trickier as you need to consider perspective more.
When drawing any pose it can be helpful to adopt the position yourself and look in the mirror. Notice whether your body is twisting, the position of your shoulders in relation to your hips, the position of your feet, and how the weight is distributed. Ask yourself questions. How are you balanced? Is one leg taking more weight than the other? Which parts of the body are nearest or farthest? As you draw, go over these points in your mind – you’ll be surprised how it informs and improves your drawing.
A Straightonposeshowingraisedarms.
B Aswellaslookingquiterelaxedandnatural,three-quarterturnedandside-onposesareperfectforshowing sidedetailssuchaspocketsandseamingfeaturesonjeansandtrousers.
C & D Thesemaybeseenasstaticposesor,inconjunctionwithillustrationE,asbeingdepictionsofhowthe
bodylooksmid-step. Asthebodytravelsthroughastride,thespinebecomesmoretiltedandthehipsandpelvis move forwards. Theweightiscarriedbyonelegastheothersteps.
E Thislivelystridingrunwaypose,withonelegextendedforwardswhiletheotherisbehindmid-step,isgreatforis great forshowingmovementand‘swing’inclothes. Thebody’sweightisdistributedevenlybetweenthesteppinglegs.
F Thisisanothersimplestance,inwhichthebodyisslightlyangledandthelegsareposed,withtherightone takingthebodyweight.
G Thisisatypicalfashionpose, with a three-quarterangledbody,hipstiltedforwards,andthebodyweightonthe leftlegwiththerightoneextendedforbalance.
H, I & J Thisgroupofthreestraightonfashionposeswithtiltedhips,shiftedweightandvariationsofarm positionsisveryusefulfordesignpurposes.
EXTRA POSES AND MOVEMENT: MEN
A Thisisasimple,slightlyrelaxedstraightonposethatisemphasizedbythetiltingoftheheadtooneside.Body weightisevenlydistributed.
B Thisslightlythree-quarterbackviewwouldenableyoutoshowseamsandpocketsontrousers.The theleftlegThe left legbearsmostofthebodyweight.
C Viewedmoreorlessstraighton,thisposeiscasualandrelaxed,withthecrossedlegbalancingwhiletheright legtakesthebodyweight.Thehandcouldbepositionedbehindthebackorinatrouserpocket.
D Thisisquitearelaxedstraightonposeinwhichtheshouldersareslightlytippedandtheheadistilted.TherightThe rightfootiscarryingthebodyweight,whilethehandscouldbebuttoningajacketorfasteningazipper.
E Inthisthree-quarterfrontposetheheadisfacingforwardsandthecrossedlegiscasualratherthancontrived. Thestraightrightlegcarriesthebodyweightwhilethetippedfootbalances.
F This three-quarterfrontposeshowsmovementasthemodelismid-step,withtherightlegcarryingthemajority
ofthebodyweightastheleftfootliftsslightly.Theshouldersarepulledbackandtheheadisalsoshownfroma a three-quarter view.
G Thisisasimplesideviewofafiguremid-stepwiththeleftlegtakingthebodyweight. Theheadisalsoseenin profile.SeenwithillustrationsHandI,thisposecouldbepartofawalkingorrunwaysequence.
H This mid-step three-quarterposeshowsathree-quarterviewoftheface,theleftfoottakingthebodyweight
andtherightshoulderswingingforwardswiththesteppingrightfoot.Theshouldersaredownasthehandsreston the hips.
I ThisposedepictsthecontinuationofthemovementshowninillustrationH.Therightfoothaslandedandthe
bodyweightismoreevenlydistributed,buttheleftlegstillcarriesmoreoftheweight.Theshouldersarepulled backalittleandthechestislifted.
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