Fashion Design Drawing

METAL CLOTH has the sheen of satin except that the high-lights in satin are undisturbed masses of light. In lame' and other metal cloths there is usually a conventional or floral design super-imposed upon this shiny surface. Some metal cloths will be best illustrated with shiny or light threads running through the shadowed parts.

VELVET also belongs in the category of fabrics that reflect light. It is a soft supple fabric with a deep nap that clings to the figure and drapes in soft folds. It reflects light in a much subtler manner than satin. Velvet is best expressed in wash. Tones may be blended while the paper is damp - damp enough to run, but not wet. Start with a very deep tone or black, then work to the lighter shades while the first tone is still wet. Strive for a moulded effect. Don't work over the tones too much, else your sketch will lose its sparkle.

TAFFETA reflects both light and shadow. It is a stiff, wiry fabric that stands away from the figure. Taffeta and organdy are very similar in silhouette or outline, but taffeta has more sheen than organdy and is not transparent like the latter. Tones should not be as contrasting in a sketch of taffeta as they are in satin. Satin gleams; taffeta rustles. High lights and shadows acquire an angular character in taffeta. Study the folds of a piece of taffeta and try to copy the "feel" of it. It is too crisp to drape.

In wash sketches of taffeta the artist should apply his tones in an opaque manner, with definite divisions in tones. He should limit himself to three or four. Taffeta may also be illustrated in pen and ink with dark angular shadows and white high lights.

SILK CREPE is difficult to classify as it both reflects light and absorbs it. Generally it is a dull fabric, but when a strong light is thrown on it, it reflects some light. It clings to the figure softly. It has very subtle contrasts. It may be illustrated in any medium. In pen and ink a Ben Day pattern in a dot design will be best for showing the foundation or largest mass of the garment. The shadows may be black. In wash apply the foundation tone and when it

has dried put on the shadow tones which should be darker, but not too contrasting to the foundation tone. Use no high lights. Novelty crepes, such as matelasse, etc. are patterned only in foundation parts or the shadowed parts (never both) to show the surface interest. Too much pattern makes monotony.

CHIFFON absorbs the light. It is the softest and most vaporous of all fabrics. It clings very snugly to the figure and drapes in graceful folds. It is transparent and flowing, almost liquid in feeling. Strive for rhythm in the lines. It is almost monotone in treatment; so use almost no contrasts. Lines are very expressive for this fabric.

ORGANDY reflects some light, but not a great deal. It is

crisp, stiff, and transparent. It is best expressed in line technique with which it is easy to get a wiry sharp feeling in the silhouette. Strive for angular outlines, avoid a flowing, rhythmic feeling.

TWEEDS absorb light and are bulky. The silhouette of a tweed costume strays from the contour of the figure because of the bulk of the fabric. This material may be depicted in either pen and ink or in wash technique to about equal advantage. In pen and ink strive for a general effect of the weave, but don't make it monotonous by a detailed all-over pattern. If it is a basket weave, show the weave in its true pattern in the shadow or foundation parts. If a herringbone weave, then show it in the same manner.

In a wash sketch lay a foundation tone over the shadowed parts in order to bring out the "feel" of the material; then strive for the general effect of the weave superimposed over this foundation. Outlines should be rough and suggest the texture of the fabric. Tones should not contrast very much as this fabric reflects no light and is shown in almost monotones.

LACE may be shiny or dull, depending on whether it is the

soft clinging type or a starched variety. Starched laces are shown in their outlines; they assume the silhouette of a stiff fabric like taffeta. Soft laces are shown like sheer crepes, in outline. The designs of lace are suggested only on parts of the dress, - for instance, the pattern should not be shown in the high-lighted regions. The artist should strive to capture the pattern as accurately as possible where he does show it.