Fashion Design Drawing

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CUBE CONSTRUCTION

When a head is built on a cube there is a sense of mass, a basis of meas-
urement and comparison. The eye has a fixed point upon which to rest. A
vertical line divides the head into two parts. These are equal, opposite, and
balanced. Each side is an exact duplicate of the other. A horizontal line
drawn through the lower eyelids divides the head in half. The lofte'r portion
again divided in the middle gives the base of the nose. The mouth is placed
two-thirds up from the chin. Built on the form of a cube, the head has a sense
of bulk and solidity that easily lends itself to foreshortening and perspective.

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OVAL CONSTRUCTION

When heads are built on an oval, the
basic idea is that the shape is rather like an
egg. The main line passes through the fea-
tures from top of head to chin. This is
divided into three parts. The cranium and
forehead of the adult occupy the top half,
the lower half divided again in the middle
gives the base of the nose. The mouth is
placed two-thirds the distance up from chin
to nose. When the head is tilted or turned,
the main axis that is drawn down the face
follows the oval. The divisions follow the
divisions as before mentioned.

In the oval construction the eye and ear
are taken as the medium line. Above this
line is the top of the head, while below is
the face.

A line drawn at a right angle to the line
already drawn, gives another median or
facial line. On this the features are marked
off to give their relative positions. The car-
riage of the head rests upon its placing or
poise upon the neck. When the head tips
or leans forward, back or toward the sides,
the head and neck must be in relation one
to the other both in movement and rhythm.

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THE HEAD IN LIGHT AND SHADE

There is light and shade on any object on which light falls. There are
light, shade, and cast shadows. The light blends into half light which again
blends into a halftone, which again blends into a shadow. A cast shadow is
the shadow of some object falling on some other object or form and bears
a resemblance to the object from which it is cast.

In the parlance of Art the variations of light and shade are in a sense
numbered, catalogued and called values. Light, halftone and shade, making
three values, are said to be all that one can keep track of. The grading,
passing, and mingling of these, through or into one another, gives the sug-
gestion of other values, but they become more subtle and less definable.

There are many methods, mannerisms and approaches to handling light
and shade. One is that form is built by light and shade, that the outline does
not exist; the edges of the object are given prominence by light and shade.
Another approach is that an outline drawing is solidified by light and shade,
that the outline itself should suggest depth, volume and bulk with only
enough shade to give it solidity.