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FASHION ILLUSTRATIONMEN
ESSENTIAL
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FASHION ILLUSTRATIONMEN
ESSENTIAL
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All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without writtenpermission except in the case of brief quotations embodied in critical articles and reviews.
maomao affirms that it possesses all the necessary rights for the publication of this material and has duly paid all royalties related to the authors’ and photographers’ rights. maomao also affirms that it has violated no property rightsand has respected common law, all authors’ rights and other rights that could be relevant. Finally, maomao affirms thatthis book contains no obscene nor slanderous material.
Whole or partial reproduction of this book without editor authorization infringes reserved rights; any utilization must bepreviously requested.
Copyright © 2008 by maomao publicationsFirst published in 2008 in the United States of America byRockport Publishers, a member ofQuayside Publishing Group100 Cummings CenterSuite 406-LBeverly, MA 01915-6101Telephone: (978) 282-9590Fax: (978) 283-2742www.rockpub.com
ISBN-13: 978-1-59253-505-7ISBN-10: 1-59253-505-4
10 9 8 7 6 5 4 3 2 1
Publisher: Paco AsensioEditorial coordination: Anja Llorella OriolText edition: Chidy WayneArt director: Emma Termes PareraLayout: Gemma Gabarron VicenteEnglish translation: Heather Bagott
Editorial project: maomao publicationsTallers, 22 bis, 3º 1ª08001 Barcelona, SpainTel.: +34 93 481 57 22Fax: +34 93 317 42 08www.maomaopublications.com
Printed in China
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Introduction7
Bases and Proportions8
Poses22
Hairstyles and Accessories64
Flat Drawing88
Illustrating with Pencil, Colored Pencil, and Crayon106
Illustrating with Felt-Tip Pen142
Illustrating with Ink and Watercolor160
CONTENTS
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When I received an email saying that there was a project about men’s fashion illustration, for which they were counting on me, I could not believe it. Hadsomebody read my mind? This future book had been the one I always yearned for in my years as a fashiondesign student! And, until now, I had not found any that dealt with the subject.
Fashion illustration should be somewhat generic wherewomen’s and men’s fashion is taken into consideration.The problem is that fashion today seems to be createdexclusively for women—at least this is the feeling onegets after browsing through bookstores.
But the reality is different. The myth that men do notworry about how they dress only changing from theiroffice suit to their casual wear is something thatnowadays clashes with reality. The growing obsessionregarding physique, which leads them to pack into fitness centers and use exfoliating creams, is alsoreflected when they are clothes shopping. The width of their garments follows the trends that the stylistspraise in the magazines and they undoubtedly knowthree times as many fashion designers as their fathers.
Women, on the other hand, not only maintain theireternal obsession with physical beauty, but also work and run the home. Things are levelling out for both
genders, which means that interests, such as fashion, are shared.
In view of the current situation, it has been decided that men’s fashion should be included on the shelves of bookstores, and so we present this book of men’sfashion illustrations—their faces, clothes, and poses.
In this discussion about illustration we will find certaindifferences between the male and the female, but thisdoes not imply that one is better or more beautiful than the other. It is true that men do not have the stylish curves of women, but those curves are replacedby shapely muscles, which are equally attractive. Andalthough a woman’s pose is a lot more theatrical than that of a man, the latter can evoke greater strength. The important thing is that, in both fashionworlds, there should be an overriding objective whenputting illustrations on paper: they must be understood.
A good illustration is usually the first step toward asuccessful collection, because it will be useful for allthose who participate in its production process: from the sales clerk at the fabric store, to the pattern maker, to the client. And it is also useful because they allunderstand it and know how to translate it as though it were a language.
INTRODUCTION
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Bases and Proportions
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10 Essential Fashion Illustration: Men
When drawing the humanfigure whether for a fashionillustration or not, being aware of the structures andproportions of the body is vital. One of the mostpopular techniques with which to start is theconversion of the figure to geometric shapes.
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Bases and Proportions 11
The classic proportion of thehuman body is traditionallyrepresented as being 8 headstall; however, in the fashionworld where slim bodies arethe norm, 81⁄2 heads arepreferred.
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12 Essential Fashion Illustration: Men
If the feet are not positionedcorrectly the figure losescredibility. Drawing balancelines is very useful in order to fix the figure in the space.
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Bases and Proportions 13
The horizontal lines thataccentuate the position of the figure are those of theshoulders, waist, hips, andknees. The imaginary,flexible line stretching fromthe cranium to the sacrum is our vertical guide.
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14 Essential Fashion Illustration: Men
The head is created by joining a circular shape and an oval shape. The eyes aredrawn approximately where these twoshapes come together in line with the upper part of the ears.
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Bases and Proportions 15
It is important that a coherentrelationship between the eyes, ears, nose and mouth is maintained, regardless of the position of the head. Here are some examples of lines that can help.
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16 Essential Fashion Illustration: Men
The eyes give expression andpersonality to the figure. When they are being drawn, it should benoted that the eyebrows are thickertowards the center. The eyelids and corners of the eyes are alsoimportant features.
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Bases and Proportions 17
Here the drawing of the nose can beseen from different angles. The positionof the nose will dictate to what degreethe nostrils and the nose wings arenoticeable.
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18 Essential Fashion Illustration: Men
The ear has always been a problem due toits strange interior shape. Good observationcan lead us to simplify certain lines, resultingin a less complex version of the ear.
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Bases and Proportions 19
The mouth of the man is usually represented asbeing thinner than that ofthe woman. Thick lips arerepresented without fullycompleting the shape. Forthin lips it is sufficient tofaintly mark the bottomof the lower lip.
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20 Essential Fashion Illustration: Men
The fingers of the hand arenot parallel. Light V shapestogether with smoothhorizontal lines dividingthem into three—except the thumb which only has one line—give themgreater realism.
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Bases and Proportions 21
The feet are one of themost complicated parts ofthe human body to capturecorrectly. The soles and theinsteps are never totally flat.
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Poses
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24 Essential Fashion Illustration: Men
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Poses 25
Here are some examples ofarm and leg positions. Thepose will directly influence the position and intensity of the creases in the sleeves.
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26 Essential Fashion Illustration: Men
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Poses 27
The extended arm reaches the crotch area and is never shown totally straight. In the lowerillustration we can see that the right arm is foreshortened, whichmakes it seem smaller in accordancewith the laws of perspective.
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28 Essential Fashion Illustration: Men
When the position is halfprofile one of the legs issketched at a slightly differentheight in order to achieve as true a picture of theperspective as possible.
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Poses 29
The fact that the human bodydoes not have straight linesshould be taken into account.A gentle curve would bemore realistic. When drawinga profile, the position of thelower foot depends on howopen the legs are.
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30 Essential Fashion Illustration: Men
However complex the pose may be, the figureshould always be balanced.Therefore the correctpositioning of the feetrequires careful study.
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Poses 31
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32 Essential Fashion Illustration: Men
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Poses 33
When showing movement,the back leg is the one whichcreates greater tension in the crease of the fly. Thesecreases should be drawn with light strokes.
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34 Essential Fashion Illustration: Men
With few substantialtransformations in the lastcentury, the suit is, and willcontinue to be, the key piecein the masculine wardrobe.This special section will showhow it is presented accordingto its size, material, or pattern.
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Poses 35
Tailored suit. A classic suitconfers a slightly geometricand solid look to the shouldersand chest as though it were abox or suit of armor. The tiefollows the curved line of the chest.
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36 Essential Fashion Illustration: Men
Tight fitting suit. The shouldersand chest are still squareshaped and the trousers makeshort creases at the seams,created by quick strokes. Theright forearm, foreshortened, is close to the biceps area withan S-shaped crease.
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Poses 37
Wide fitting suit. The shoulderpads protrude slightly fromthe shoulder creating a smallfold. The trousers are shownwith fewer creases that aredeeper and longer.
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38 Essential Fashion Illustration: Men
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Poses 39
Short trousers/long trousers.As the figures show, theshorter length trousers havehardly any creases at thebottom, whereas the trouserswith a longer length createdeeper creases around theankle area.
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40 Essential Fashion Illustration: Men
In poses with the hands in thepockets, the suit jacket is liftedup. To portray this, archedshaped creases can be drawn.The creases formed by thetrousers touching the instepare also obvious.
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Poses 41
Here is an example of how the trousers fall in a seatedposition. The creases areconcentrated in the crotcharea where the opposingtensions stretch from thecentral seam of the trousers.
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42 Essential Fashion Illustration: Men
The material of the suit willdictate the rigidity of the suit’sappearance. Wool, shown here, creates a lot of creases,although they appear soft. In the right leg, the ironingcrease is not continuous when interrupted by a natural crease or fold.
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Poses 43
A patterned suit can never be uniform. In this figure thechecks act as a mesh andenable us to see how thevolumes of the body aredrawn and how the lines are broken by creases.
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44 Essential Fashion Illustration: Men
The movement of the armwhen raised causes thewaistcoat to follow suit, rising from the central frontpart. The resulting creases can be represented by 3 or Z shapes in a spontaneous and light fashion.
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Poses 45
Rolled up sleeves createsquashed, oval-shapedcreases. Here we can see that the rise of the crotch is lower due to the trousershaving a wide fitting.
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46 Essential Fashion Illustration: Men
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Poses 47
It is very important to correctlyportray the creases when thefigure is in movement in orderto give a good picture of thegarments. When walking, themain tension is produced fromthe hip of the front leg to theknee of the back leg.
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48 Essential Fashion Illustration: Men
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Poses 49
The selected pose depends onwhat we want to highlight inthe figure. In the example onthe left, the pose represents arelaxed attitude as does theattire. With the figure on theright we want to accentuatethe cummerbund.
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50 Essential Fashion Illustration: Men
Poses with the hands in the pockets are perfect forsimplifying the drawing task or when giving the figureattitude. Here are someexamples of different ways of posing in this position.
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Poses 51
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52 Essential Fashion Illustration: Men
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Poses 53
When we place hands inpockets we should alwaysmake the correspondingcreases. The hand in the pocket creates differenttensions depending on the pose.
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54 Essential Fashion Illustration: Men
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Poses 55
A long sleeve is also affected byplacing the hand in the pocketof the trousers. Touching thepocket creates creases at thebottom of the sleeve.
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56 Essential Fashion Illustration: Men
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Poses 57
Views of the back are equallyas precise as views of thefront. Elbows, the back of theknees, and the Achilles heelare usually the starting pointfor many creases, withoutforgetting the lower part of the behind.
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58 Essential Fashion Illustration: Men
In this backwards-facing pose,thanks to the jumpsuit, the waythe creases follow the movementof the body is seen perfectly. Theman standing straight up with hisback towards us is pulling on thegarment from the back part of the knees.
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Poses 59
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60 Essential Fashion Illustration: Men
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Poses 61
It is possible to try somethingdifferent apart from the classicposes of standing, sitting, orlying down. In these cases,however, the creases will bemuch greater.
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62 Essential Fashion Illustration: Men
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Poses 63
When presenting acollection using a group, it is important that eachfigure poses in a differentand unique way while stillmaintaining the harmony of the group.
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Hairstylesand Accessories
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66 Essential Fashion Illustration: Men
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Hairstyles and Accessories 67
Hairstyles should be worked inthe same way as creases: with a quick and firm stroke. Thisensures that the lines of thehairstyle, albeit in a moresimplified way, greatly resemble reality.
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68 Essential Fashion Illustration: Men
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Hairstyles and Accessories 69
When the hair has loose curls,the outline should be drawnwith uneven semicircles. Theway to create an irregular style,as with tight curly hair, is todraw the outline with the wrong hand.
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70 Essential Fashion Illustration: Men
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Hairstyles and Accessories 71
Long hair requires imagination fromthe illustrator. The style of the hairshould be frequently different—brushed outwards, brushed inwards—and always with loose and differentstrokes.
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72 Essential Fashion Illustration: Men
Glasses are the only orthopedicobject considered an element offashion. Here we see differentmodels: round, thick-rimmed,thick-rimmed metal, and sun-glasses with a metal frame.
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Hairstyles and Accessories 73
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74 Essential Fashion Illustration: Men
The reflected light ofsunglasses can be shownin many ways as it is veryirregular. A simple methodis using white parallellines.
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Hairstyles and Accessories 75
When drawing hairbands it is a good idea to applycreases which stretch fromthe edge to the centre. Ifcreases are only used in the center the result isunrealistic.
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76 Essential Fashion Illustration: Men
When drawing visors, itshould be rememberedthat the interior part ismore shaded. This shadecould be emphasized very simply.
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Hairstyles and Accessories 77
Hoods are not easy tointerpret. Their behavior isvery irregular. In this examplewe can see how the position of the figure’s head makes the hood taut from theshoulder area.
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78 Essential Fashion Illustration: Men
When drawing hats orcaps, as in this case, it isuseful to draw a little bitof hair at the sides to make the illustration more realistic.
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Hairstyles and Accessories 79
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80 Essential Fashion Illustration: Men
There are many ways to knotscarves, ties, and bowties. If wehave to sketch a close-up then we have to be very careful whencreating the knots—where themajority of the main creases arise.
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Hairstyles and Accessories 81
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82 Essential Fashion Illustration: Men
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Hairstyles and Accessories 83
Bags for men tend to be large.The creases mostly arise frombags made of fabric—giventhat the leather used for bagsis usually very hard and rigid.
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84 Essential Fashion Illustration: Men
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Hairstyles and Accessories 85
Here we present various models of shoesseen from different angles. It is importantto consider carefully the seams and lacesand also understand that the heel is moreattractive when shown in perspective.
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86 Essential Fashion Illustration: Men
These poses of feet should remindus of their importance in the drawingof a figure. As we have already said,a correct positioning of the feet isessential in giving credibility to thefigure—this positioning could beinnovative or more straight forward.
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Hairstyles and Accessories 87
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Flat Drawing
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90 Essential Fashion Illustration: Men
Although they are called flat drawings, the illustratedgarments should always looklife-like. Consequently, thereshould be more gentle curvesthan straight lines.
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Flat Drawing 91
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92 Essential Fashion Illustration: Men
T-shirt Polo Shirt
Long Sleeved T-shirt Long Sleeved T-shirt Back View
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Flat Drawing 93
The sleeves should be drawn with a curve as well as the waist, which usually tapers slightly. In the same vein, the hems should not be drawn with a straight line.
Classic Shirt Shirt Back View
Mao Collar Shirt Striped Pattern
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94 Essential Fashion Illustration: Men
Ribbed areas are illustratedby lines of varying widthdepending on the requiredthickness. Here we can seetwo wool jumpers: one with a thin gauge and the otherwith a much thicker gauge.
Djellaba Collar Shirt
V-neck Woolen JumperPolo Neck Jumper
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Flat Drawing 95
A flat drawing must show all the details. On this pagewe can see two types ofwaistcoat with differentlinings: the upper one has anormal lining and the lowerone has a padded lining.
Waistcoat Waistcoat Back View
Padded Waistcoat
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96 Essential Fashion Illustration: Men
Double seams, fasteners,details. The flat drawingrequires intricate detail, which calls for the use of a lead pencil or a sharp, hard pencil (H).
Empire Vest
Underpants Boxer Shorts
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Flat Drawing 97
Athletics Shorts
Cargo Bermuda Shorts
Long Length Swim Shorts
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98 Essential Fashion Illustration: Men
We can see here how a ribbedelastic hem or waist affectsthe predominant material ofthe garment. The material isgathered in where it reachesthe elastic, thereby altering its size.
Tracksuit Bottoms
Denim Dungarees
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Flat Drawing 99
Jeans
Pleated Trousers
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100 Essential Fashion Illustration: Men
Tailored Jacket Blazer
Dinner Jacket Morning Coat
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Flat Drawing 101
The button holes, lapels,lining, pocket flaps, and pleatson a single jacket, as with any other garment, must bedrawn. This is the job of theflat drawing—to make thegarment fully comprehensible.
Morning Suit
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102 Essential Fashion Illustration: Men
A flat drawing is successfulwhen the garment it depicts is clearly understood. This typeof drawing is what is shown tothe person who will produce to these specifications.
Hooded Sweatshirt
Wind Breaker
Jacket
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Flat Drawing 103
Ski Jacket
Motorcycle JacketAnorak
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104 Essential Fashion Illustration: Men
Sailor Coat
Long Length Coat
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Flat Drawing 105
Generally there are not manycreases in flat drawings;however, they can beincluded when drawing agarment with a belt to drawattention to it and show it as a separate piece.
Trench Coat
Parka
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Illustrating withPencil, Colored Pencil,and Crayon
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108 Essential Fashion Illustration: Men
The pencil is the best toolwith which to sketch, as it is erasable and is ideal formodifying when we are not certain what we want to draw.
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Illustrating with Pencil, Colored Pencil, and Crayon 109
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110 Essential Fashion Illustration: Men
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Illustrating with Pencil, Colored Pencil, and Crayon 111
In these figures we are usingvery soft pencils (B) with anunsharpened lead. We woulduse this tool for sketches thatdo not require much detail.
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112 Essential Fashion Illustration: Men
The use of very thick pencilsenables the figure to besensed by intuition as someareas are left unsketched.This is the case with the legs in this figure where the continuity is sensed even though we have notcompleted the outline.
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Illustrating with Pencil, Colored Pencil, and Crayon 113
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114 Essential Fashion Illustration: Men
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Illustrating with Pencil, Colored Pencil, and Crayon 115
Here, we use a pencil that is slightly thinner than theprevious one although it isequally soft. With this pencil,details such as buttons orspecific creases can be addedto the drawing.
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116 Essential Fashion Illustration: Men
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Illustrating with Pencil, Colored Pencil, and Crayon 117
Normally, the soft pencil (B)gives a more attractive finishon porous paper. The result is always more artistic andgratifying.
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118 Essential Fashion Illustration: Men
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Illustrating with Pencil, Colored Pencil, and Crayon 119
From this point onwards wewill work with normal pencils,which are also soft, and allowus to work in greater detail and bring the faces to life.
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120 Essential Fashion Illustration: Men
To give credibility to a look and soul to a figure, the shinein the eyes must be positionedcorrectly. The interior cornersof the eyes and eyelids mustalso be taken into account—as we saw in the first part.
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122 Essential Fashion Illustration: Men
With a lead pencil (0.5) wecan take the detail to anotherlevel. It is an ideal tool fordrawing double seams, thinribs, patterns, strings, etc.
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Illustrating with Pencil, Colored Pencil, and Crayon 123
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124 Essential Fashion Illustration: Men
The color pencil is usually softand allows us to outline in sucha way that the color forms partof the interior. We can also colorin the garment and outline thedetails with a different color tomark the difference.
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Illustrating with Pencil, Colored Pencil, and Crayon 125
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126 Essential Fashion Illustration: Men
When we use color we do not have to color in thewhole area. We can leavesome spaces in white. These would represent the more illuminated areas of the garment.
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Illustrating with Pencil, Colored Pencil, and Crayon 127
When we create illustrationswith patterned material wecan omit the figure outline.The pattern itself creates its own limits, thereby giving a misleading sense of continuity.
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128 Essential Fashion Illustration: Men
When coloring in with pencil, the only thing to remember is that creases have to be darker. This is the only way they can bedistinguished from the rest of the garment.
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Illustrating with Pencil, Colored Pencil, and Crayon 129
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130 Essential Fashion Illustration: Men
Shaded areas do not always haveto be grey or black. Sometimesit is preferable to apply shadingwith complementary colors, suchas blue or violet on the skin.
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Illustrating with Pencil, Colored Pencil, and Crayon 131
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132 Essential Fashion Illustration: Men
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Illustrating with Pencil, Colored Pencil, and Crayon 133
Crayons are very waxy so theyare not usually suited to detailedwork. They should be used withlight strokes so that the surfaceof the drawing does not getsticky.
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134 Essential Fashion Illustration: Men
It is a good idea to use a fixingspray when the illustration isfinished, since greasiness couldstain other drawings when theyare stored.
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Illustrating with Pencil, Colored Pencil, and Crayon 135
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136 Essential Fashion Illustration: Men
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Illustrating with Pencil, Colored Pencil, and Crayon 137
If we are quick and have a steadyhand then crayons are a good toolwith which to draw silhouettes. It isimportant to bear in mind that workcannot be erased if an error is made.
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138 Essential Fashion Illustration: Men
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Illustrating with Pencil, Colored Pencil, and Crayon 139
Given the lack of precisioncrayons offer, we will use them in a very limited way when sketching. Here, the details should not be the most important feature.
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140 Essential Fashion Illustration: Men
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Illustrating with Pencil, Colored Pencil, and Crayon 141
Crayons are greatfor filling in largeareas. If we crayon on top of a photograph wecan achieve a veryreal effect. Here,cotton wool hasbeen used to blur the image.
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Illustrating with Felt-Tip Pen
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144 Essential Fashion Illustration: Men
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Illustrating with Felt-Tip Pen 145
Felt-tip pens are very good tools for advancedillustrators. The result isclean and aestheticallypleasing as long as thebrush strokes are quick and sure.
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146 Essential Fashion Illustration: Men
As with the pencil, mediumsized felt-tip pens (1.2 mm)give a high level of detail thatis ideal for faces, creases,accessories, and fasteners.
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Illustrating with Felt-Tip Pen 147
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148 Essential Fashion Illustration: Men
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Illustrating with Felt-Tip Pen 149
As we can see in theseillustrations, the medium felt-tip pen, as well as the thickone, should be used with careto draw faces. A simplificationof the features is the bestsolution.
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150 Essential Fashion Illustration: Men
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Illustrating with Felt-Tip Pen 151
To completely fill in a figure witha felt-tip pen requires previousstudy. It is advisable to fill inwhole parts (sleeves, necks,trouser legs, etc.) in one go from the top to the bottom and then carefully give them a deeper shade.
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152 Essential Fashion Illustration: Men
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Illustrating with Felt-Tip Pen 153
The fine 0.4 mm felt-tip pen will be the one used to bring out details as much as possible. With this type of felt-tip pen it is possible to draw almost any kind of detail.
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154 Essential Fashion Illustration: Men
With color felt-tip pens we can greatly simplify the figure, filling inonly those zones which correspond to shade. The human eye allowsus to imagine the rest of the figure.
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Illustrating with Felt-Tip Pen 155
We can use the felt-tip pen throughout to create a flatdrawing, or by using it another way we can leave areas blank to give a shiny effect.
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156 Essential Fashion Illustration: Men
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Illustrating with Felt-Tip Pen 157
To draw creases on a color oncewe have completed the figure, we can mark them with the same color, albeit a slightlydeeper shade, so that they are distinguishable.
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158 Essential Fashion Illustration: Men
It is important to rememberthat the lines on stripedpatterns should not bedrawn straight. These linesfollow the movement of the body and so becomebroken when confronted by pronounced creases.
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Illustrating with Felt-Tip Pen 159
For patterns in general it is not necessary to drawthem completely. We candraw some areas and leaveothers to the imagination.This technique creates afalse sensation of volume.
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Illustrating with Ink and Watercolor
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162 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 163
Ink fills all spaces perfectly.By leaving quite a few blankspaces for the creases, we can create the desired shiny finish.
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164 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 165
If the ink is greatly watered down it is difficult to predict its behavior.One way to safeguard a goodoutline is to use sticky tape aroundthe edge so that the ink can be usedfreely. Once the ink is dry the stickytape can be carefully removed.
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166 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 167
In the illustration on theright we wanted to show apair of trousers in differentshades—achievable byusing a very weak water-color and a mix of colors.
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168 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 169
Watercolor is an ideal mediumfor interpreting transparencies.We simply color the textureunder the fabric and once this is dry, a second watered-downlayer is applied on top.
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170 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 171
A sucessful watercolordrawing is achieved from a good base in pencil. When we want to createstronger outlines, the use of pencil will result ingreater definition.
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172 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 173
With watercolor and askilled hand we can achievevery realistic results. Tolighten areas once thesurface has been painted,water from the moistdrawing can be absorbed by cellulose paper.
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174 Essential Fashion Illustration: Men
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The shaded areas will be applied once we havecompleted the first basecolor. The result willdepend on how long the first layer is allowed to dry.
Illustrating with Ink and Watercolor 175
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176 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 177
Voluminous hair isachieved with a pale and irregular layer ofwatercolor first. Once this is dry we continue with light brushstrokesapplying a darker color.
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178 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 179
We can outline the figure in black to emphasize the illustration.This was done with great masteryby René Gruau, possibly the bestfashion illustrator of the twentiethcentury.
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180 Essential Fashion Illustration: Men
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Illustrating with Ink and Watercolor 181
Combining watercolor withanother tool, such as a pencil orfelt tip pen, to draw the outlineof the figure allows us to use thewatercolor splashes quickly andwith a very artistic result.
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182 Essential Fashion Illustration: Men
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A combination of techniques isalways welcome. It can help us toemphasize shaded areas, highlightcreases, or simply outline a figure.
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184 Essential Fashion Illustration: Men
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Watercolor easily enablesus to leave plenty of blankspaces. Light and shadowmust be taken into accountfor the effect to be natural.
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186 Essential Fashion Illustration: Men
In these kinds of illustrations the result would be imprecise if onlywatercolor were used. A better result is achieved by going aroundthe outline with a felt tip pen.
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188 Essential Fashion Illustration: Men
Here is a further example of a combinationof illustration techniques. When details oroutlines of the same color in felt tip penare applied to a watercolor base the resultis greatly enhanced.
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190 Essential Fashion Illustration: Men
If a background is desiredthen irregular splashes ofwatercolor can be used. Thisworks very well, as we can see here, where the figure hasbeen colored in while leavinga lot of blank areas.
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