Fashion Design Drawing

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.