ebook fashion illus. basic tech EISBN_final

Fashion

Illustration

Basic
Techniques

NORANISAH MARNI
NOORHATI ABD KADIR
eBOOK MODULE FOR FASHION DESIGN & CLOTHING PROGRAMME
POLITEKNIK IBRAHIM SULTAN

Fashion

Illustration

Basic
Techniques

POLITEKNIK IBRAHIM SULTAN

1st Published 2021

All rights reserved. No part of this publication may be reproduced, stored in
a retrieval system, or transmitted, electronic, mechanical photocopying,
recording or otherwise, without the prior permission of the Politeknik
Ibrahim Sultan

Perpustakaan Negara Malaysia Cataloguing-in-Publication Data

Noranisah Marni, 1980-
Fashion Illustration : Basic Techniques / NORANISAH MARNI,
NOORHATI ABD KADIR
Mode of access: Internet
eISBN 978-967-2065-54-8
1. Fashion drawing.
2. Government publications--Malaysia.
3. Electronic books.
I. Noorhati Abd Kadir, 1978-. II. Title.
741.672

Module eBook Development
Authors : Noranisah Binti Marni, Noorhati Binti Abd Kadir
Proof-reader : Yeow Chee Kheong
Designer : Ts. Khairudin Bin Haji Baharum

Published in Malaysia by:

Creative Design Center (CDeC)
POLITEKNIK IBRAHIM SULTAN

KM 10 Jalan Kong Kong, 81700 Pasir Gudang, Johor

Tel : 07-261 2488 | Fax : 07-261 2402 |

SROHTUA EHT TUOBANoranisah Binti Marni, is a

graduate of UiTM Shah Alam,
holder of a Bachelor of Arts in
Fashion Design. Currently, she is
serving as a lecturer of the Fashion
Design and Clothing Programme at
Politeknik Ibrahim Sultan with a 14-
year experience of teaching
Diploma undergraduate students
the modules of 'Fashion Illustration',
'Fashion Design' and 'Fashion CAD'.

This eBook was produced together

with another fellow lecturer,

Noorhati Binti Abd Kadir who is also

a graduate of UiTM Shah Alam and

a holder of Bachelor of Arts degree

in Textile Design. Currently, she is

serving as a lecturer of the Fashion

Design and Clothing Programme at

Politeknik Ibrahim Sultan with an 18-

year experience of teaching

Diploma undergraduate students

the modules of 'Fundamentals Of

Drawing', 'Fashion Illustration' and

'Fundamentals of Design'. Both of

them are deeply interested in art

and design, so this eBook is an

inspiration for lovers of art and

design.

Table Of Contents

SRETPAHC 1 INTRODUCTION
3 PREFACE
4
ACKNOWLEDGEMENT
16
2 23 TOOLS & EQUIPMENTS

FASHION FIGURE PROPORTIONS

FASHION ILLUSTRATION BASIC TECHNIQUES

3 50 TECHNIQUE 1: 9 HEADS
51
52 INTRODUCTION: 9 HEADS TECHNIQUE
STEP TO DRAW 9 HEADS TEHNIQUE

4 64 TECHNIQUE 2: CROQUIS
65
67 INTRODUCTION: CROQUIS TECHNIQUE
STEP TO DRAW CROQUIS TECHNIQUE
5 79
81 TECHNIQUE 3: GRID METHOD
82
INTRODUCTION: THE GRID METHOD
98 STEP TO DRAW THE GRID METHOD
101
108 FASHION ILLUSTRATION QUIZ
FASHION STUDENTS ARTWORKS

REFERENCES

Introduction

DIPLOMA IN FASHION DESIGN AND CLOTHING is a programme that

involves design and garment construction. It combines visual research
and theoretical content in the development of fashion design which
includes history, drawing, design, production, textile and business
practices.
Some courses are studio-based and concerned with the use of
machines, basic techniques, material, colour and texture. Students are
required to create and produce functional fashion clothing that is not
only serving beneficial purposes to the society but also enhancing its
aesthetic values.
Throughout the programme, students are evaluated for their varied
aptitudes and skill and also encouraged to stretch their creative ideas
to develop their own designs as they move toward their final designs.
The programme also encourages students to develop their own
individuality and commercial viability.

1

FASHION ILLUSTRATION exercises the skills of

drawing fashion figures and details of clothing;
experimenting with media and surfaces, and
presenting illustration work professionally.
Fashion figures with clothing and details are
approached through series of simplified
techniques. Mixed-media techniques are
introduced by adding an alternative approach
to the methods of presenting illustration.
The contemporary mixed-media approach is
subjected to student’s creativity. Flat drawings
of illustrated garments help to extract
understanding of clothing details and styles.
The focus is on drawing figures that are
compatible and appropriate to fashion and
clothing during a presentation. Some
approaches on figure drawings are taught to
scale and variety of illustration techniques as
well as quick sketches.

2

Preface

This ebook aims to reach out to fashion designers, both students
and those in the industry, on how to start sketching fashion
illustrations and fashion design by applying various basic
techniques.
Through our own experiences, as lecturers of the fashion design
programme, we deeply understand the students' desire to learn
the fashion illustration module. Indeed, this module is very
interesting, because this is where students learn to express
clothing design ideas through fashion design sketches.

However, students need to learn the basics of fashion illustration
and fashion design techniques by using some techniques that will
be explained in detail in this ebook. Among the techniques of
drawing figures are the technique of 9 heads, croquis and plotting
grid completed with the step by step visual instructions that have
been provided. Hopefully, students can produce illustration
assignments well, with the help of this ebook.

We believe that after you read this ebook and try to use the
techniques described in detail, you will definitely be able to
produce fashion illustrations with confidence according to your
creativity. We encourage you all to explore and experiment in
fashion design.

3

Aknowledgement

Bismillahirahmanirahim...
Assalamualaikum w.b.t

Alhamdulillah, with the permission of Allah SWT. This eBook is
finished.

First of all, we as the authors would like to thank all the lecturers,
Fashion Design students who helped a lot and gave the good
cooperation to produce this ebook. Not to forget also the families
and friends who were very understanding and encouraging to us.
Also to any party who helped us directly or indirectly.

We are thankful to the staff of CDEC Creative Design Center, Mr.
Sarawanan A/L Letchumanan from Unit e-Pembelajaran Politeknik
Ibrahim Sultan and Pn. Nafsiah Binti Sairi as Programme Leader
which gave us the opportunity and confidence to produce this
ebook. Also, support and knowledge were provided to produce this
eBook with some helpful organized workshops. Thank you once
again.

This is the first ebook writing module we have ever produced for the
Fashion Design and Clothing programme module. We really hope
that the production of this ebook module 'Fashion Illustration - Basic
Techniques' can help Fashion Design students and Fashion Design
lecturers to understand the module of learning and subsequently be
able to produce assignments well. Let's study!

The Authors, 4
Noranisah Marni &
Noorhati Abd Kadir
2021

As Inspirations...

"The joy of dressing is an art." —John Galliano
"Fashion is part of the daily air and it changes
all the time, with all the events. You can even

see the approaching of a revolution in
clothes. You can see and feel everything in

clothes." —Diana Vreeland

5

1

Tools & Equipments

6

Tools & Equipments

Any medium is valid for drawing still life objects which means that
some media are more valid than the others in particular
circumstances. The suitability also depends on what you are trying to
achieve. Try to equip yourself with the best materials you can afford,
because quality does make a difference. You don’t need to buy all the
items listed below, and it is probably wise to experiment as you will
gradually gain confidence.

7

8

Start with the range of pencils suggested, and when you feel you would
like to try something different, then do so. Be aware that each material
has its own identity, and you have to become acquainted with its
individual facets before you can get the best out of it or discover
whether it is the right material for your purposes. So, don’t be too
ambitious for your purposes. To begin, when you decide and experiment,
you need to persevere.

9

PENCIL

The normal type of wooden-cased drawing pencil is, of course, the
most versatile instrument at your disposal. You will find the soft black
pencil is best. Mostly I use B, 2B, 4B and 6B. Very soft pencils 7B-9B
can be useful sometimes and harder ones (H) are used very
occasionally. Clutch pencils are very popular, although if you choose
this type you will need to buy a selection of soft, black leads with
which to replenish them.

10

PENS

Push-pen or dip-pens come with fine pointed nib, either stiff or flexible,
depending on what you wish to achieve. Modern fine-pointed graphic
pens are easier to use and less messy but not as versatile, producing a
line of unvarying thickness. Try both types. The ink for dip-pens is black
Indian ink or drawing ink; this can be permanent or water-soluble. The
latter allows greater subtlety of tone.

11

12

PAPER

You will find good quality cartridge paper most useful, but choose one
that is not too smooth; 160gsm weight should be right. If you are
unsure, ask your local art shop, where they will stock all the material
you require.

13

ERASER

The best all-purpose eraser for an artist is a putty eraser. Kneadable, it
can be formed into a point or edge to rub out all forms of pencil marks.
Unlike conventional eraser, it does not leave small deposits on the
paper. However, a standard soft eraser is quite useful as well, because
you can work over marks with it more vigorously than you can with a
putty eraser.

14

SHARPENER

A craft knife is more flexible than an all-purpose sharpener and will
be able to cope with any medium. It goes without saying that you
should use such an implement with care and not leave the blade
exposed where it may cause harm or damage.

15

Fashion
Illustrations Tips

16

17

Essential Tools For
Fashion Drawing

PENCIL OR MECHANICAL PENCIL

My favourite pencil to work with is 2H because it’s not too hard nor
too soft, and it’s not as messy as those pencils on the B spectrum.
Remember the H in a pencil stands for Hard, and the bigger the
number, the harder the pencil and the cleaner the lines. And the B
stands for soft black, and the bigger the number, the softer and
darker the pencil.
I also love working with mechanical pencils because the lines are
finer than the pencil’s and I don’t need to use a sharpener, so I can
draw and draw non-stop.
If you want, you can try with both, a regular pencil and a mechanical
pencil. Neither of them has to be expensive. My pencils usually cost
less than one buck, and the mechanical pencil I’m using costs no
more than two bucks. I tend to lose my pencils all the time, so I don’t
invest quite a lot in them, but I also love how they work.

18

ERASER AND SHARPENER

When you buy your erasers, make sure they’re soft and kind with
your work. You don’t want your eraser to stain or damage your
drawings, so make sure you pick the right eraser. I love purchasing
erasers in bulk because just like my pencils l tend to lose them all
the time.
For sharpeners, I prefer the metal ones. And this one with two holes
is just perfect. One hole is to sharpen the pencils and the other one
for the colour pencils.

19

PAPER LOOSE SHEETS OF PAPER
OR A NOTEBOOK

Okay, you have your pencils, your eraser, and your sharpener ready.
Now you need a place where to put your ideas on. For this, you can
get a notebook, or you can even work with loose sheets of paper
and then put them in a binder.

Especially at the beginning that you’ll need to practice a lot, I’d
recommend purchasing a pack of bond paper in letter size and a
binder. Then, start learning, drawing, practising, making some
mistakes, observing, improving, tweaking and repeating. Make sure
you keep your best work in the binder. When you feel more
confident in your drawing skills, then get a notebook and put all
your designs, ideas, and illustrations there.

USE RULER AND TEMPLATES FOR CIRCLES AND OVALS SHAPE

These tools are amazing for beginners; they help you create clean +
perfect lines + circles + ovals for your figures and faces. And I
totally recommend them when you start, although sometimes I still
use them when I want a neat drawing.

The ruler will help you create a preliminary line skeleton for your
fashion figures before you draw the actual body and put garments
on it. Then you can determine where the joints like knees, shoulders,
elbows, and ankles will be with the circle’s templates.

20

And you can use the ovals templates to draw the head of your
figures. All the ruler, and the circles + ovals templates are here to
help you with that shaky hand. But, I definitely recommend you to
follow the drawing exercises from a previous lesson and video, so
you keep getting better.

WORKBOOK AND CHEAT-SHEETS

If you’re totally new to fashion drawing especially fashion figure
and face drawing, then the workbook and cheat sheets will be
super helpful for you, specifically for beginners to train their eyes +
hand + brain to create beautiful and proportionate figures and
faces.
Here is the shortcut for you to improve on your skills faster, and you
only need to print the cheat sheets and draw over them. Otherwise,
you may use the cheat sheet under a sheet of paper, and draw
following the step from the course + workbook.
As you can see, you don’t have to wait until you have all the tools,
nor the most expensive materials or the biggest studio. You can
start learning + practising from now with only a piece of paper and
a pencil.

21

As Inspirations...

"In order to be irreplaceable one must always
be different." —Coco Chanel

"Elegance is not standing out, but being
remembered." —Giorgio Armani

22

2

Fashion Figure
Proportions

23

Fashion Figure Proportions

Chapter 1 will take you through all of the basic steps of drawing the
fashion figure; from the initial concept all the way through the actual
application.
To understand this type of figure sketching we will take it apart,
examine the structure. This ebook has been designed to simplify the
process of studying fashion proportions so that you can learn how to
draw, develop and interpret this fashion figure through your own style
and direction.
This chapter helps you to discover a variety of methods in which to
sketch the figure including full-front posing to profile, a structured
grid system (plotting grid), quick sketching processes (croquis and 9
heads techniques) in addition to more realistic full figure drawing.

24

25

LEARNING FIGURE BASICS

The very nature of fashion itself dictates that fashion proportions are
subject to change. Within reason, we know that these changes do
not alter the basics, which are illustrated on the following pages. The
figure is broken down into parts that make it easy for you to put it
back together (part by part). This technical approach is less
intimidating and easier to master than other techniques.
Two of the easiest formulas for breaking the figure down into simple
proportions is to use halves or thirds, as illustrated here.
Each of the three sections illustrated below equals the other. The
first section starts with the head to the waist, then the waist to the
knee and finally, the knee to the toe.

26

Here, the figure is drawn in two equal sections. The first half is the
length from the head to the end of the torso; the second half is the
end of the torso down to the ankle. (The ankle to the toe represents a
bit of extra length).
These formulas work regardless of what scale you draw them in. After
you master these formulas, you will create your own version by
adapting these formulas to match your own styles.

27

FASHION FIGURE GUIDELINES

As shown on these figures there are specific guidelines on the
fashion body that divide the form into sections. These guidelines
serve two purposes. First, the lines define and label sections of the
fashion body that you can use as a guide to drawing a particular
pose. Second, the lines roughly imitate a few of the sewing lines that
can be found on a dress form or mannequin. In this case, the
guidelines can help you dress the figure so that design detail in a
garment is properly drawn on the figure.

28

Notes these sewing lines section of the figure and each
section is directly related to the other. Princess seams
that are parallel to each other break the figure into
quarters (left front and side, right front and side). On the
profile (side) view, the princess seam becomes the outside
contour line, leaving the side seam to define the inner
figure. Sewing lines are always needed when drawing
design details. Always include them on your figure sketch.

INTERPRETING ANATOMY

Anatomy is the study of muscles and bones. For artists, however,
detailed study of anatomy often isolates one from the other. Drawing
the skeleton helps you to form a sense of structure for the figure.
Sketching muscles assists you in understanding the contours of the
figure.

Because fashion sketches elongate the body structure and simplify
the contours, it helps to study and draw the figure using various
methods. These methods are illustrated here to aid you in practising
drawing the body by interpreting anatomy. Practise each of these
methods until you find the one that works best for you.

Combining a simplified skeleton with some basic form is an effective
and useful drawing exercise. By using both of these elements,
structure and contour, you will be able to suggest a pose from the
inside to the outside, which will give your figure both volume and
weight. To give your figure height, you must create 'heads tall'. For
normal anatomy, the figure can be seven to eight heads tall. Fashion
elongation often extends the figure to nine or ten heads tall.

29

30

FASHION ELONGATION AND THE FIGURE

The fashion industry recognizes the need for market
options in respect to women's figure types. These figure
types have been labelled by the trade:'petite', 'full figure'
and 'regular'. It is the regular figure market that is
targeted with the model, or idealized, elongated body in
fashion illustration.

The petite and full figure markets are drawn in a more
natural, realistic manner. The figures on this page
illustrate some of the drawing differences between the
types.

The term 'real figure' as in drawing from life refers to the
natural human body. According to general weights and
measurements, the real figure stands at about seven or
eight heads tall. The shorter figure on the facing page is
more realistic.

While the skeletal and muscle structure are essential in the
study of the real figure, the fashion figure alters reality.
The fashion figure exaggerates the normal human body.
For fashion, you study the figure as ab idealized form that
is subject to social fashion trends. The longer figure
represents how fashion interprets the figure for style
instead of reality.

31

That the fashion figure is an abstraction of the real figure
is not a negative or a positive alteration. It is simply done
to create a clothes hanger of sorts that justifies itself
through the design detailing for fashion. In the two
illustrations on the next page, you will see that each body
part is followed by a number in parentheses.
These numbers represent approximate heads tall position
for that body part. Example: Waistline(3); the waist on the
figure on the left is positioned at 3 heads tall. (please
note that on the figure on the right, the waistline is
positioned at 3 1/2 heads tall because this figure is the
elongated fashion figure).

32

33

BASIC FIGURE FORMS

Generally, fashion drawing is concerned with the
interpretation of the figure, its outside edge, and the
outline contour of body curves and angles in a pose. For
extra practice, let's disregard the pose for a moment to
concentrate on the abbreviated form of the arms and
legs. Next, we'll focus on the hands and feet. While those
forms are exaggerated in length, they are simplified in
shape and width. This type of drawing is not as much
formula as it is a method that gets results.

By studying foreshortening, you will master drawing body
parts and can advance to the more complex (but
adaptable) fashion drawing concepts of the more difficult
poses. Foreshortening is a term used to explain the visual
displacement of a bend or foreshortening takes the
portion of the body away from or closer to your eye level
in the sketch.

For example, in a pose, the lower portion of the leg, the
calf, moves away, backward from the thigh. Now the leg is
bent and there will be foreshortening from the knee down
into the ankle. In another example, the upper portion of
the leg, the thigh, move forward bending at the knee. This
time it is the thigh that is foreshortened from the panty
line up to the knee. In either example, the foreshortened
portion of the leg will be drawn differently than usual.

34

Perspective drawing on a fashion figure is more about eye
level than it is about horizontal or vertical lines that loom
and disappear off in the distance. Eye-level could be the
horizontal line if you consider that you see the figure
above and below that line. The figure could be seen as
the vertical line that crosses through the horizontal line or
eye level. While each artist has his or her own personal
perspective on the fashion figure as it poses on the page,
this text will assume that eye level is at the waistline. The
body above and below eye level will be affected
according to pose. More important, in later chapters the
use of eye level at the waistline will affect the sketching
of garment detail on the body.

FORM AND SHAPE: DRAWING LEGS

Regarding bones and muscles, the fashion leg is an
abbreviation of the real human form.

The thigh is drawn to match the length of the calf. The
knee curve is placed in the middle of the leg.
The centre front of the leg follows the curves of the
upper and lower parts of the leg.
The thigh (the part of the leg above the knee), is
thicker or wider than the calf, (the section below the
knee).

35

36

The centre front of the leg moves in the same direction as
the leg turns.

Watch what happens to the knee as the leg turns.
Practise the knee curves, especially where they
connect directly into the calf curves.
Notice the direction and shift in these curves when the
legs are posed.
The high hip and the supporting (right) leg move both
the knee and calf to a higher angle than on the
nonsupporting (left) leg.

37

FORM AND SHAPE: DRAWING ARMS

As with the fashion body and leg, the fashion arm is yet
another idealized form. It, too elongated and simplified
beyond bone and muscle.
The proportion is half to half, the same as drawing legs.
The upper arm is the same length as the lower arm.
Practise the very subtle curves of the arm by adding
simple shapes in place of natural muscle curves and elbow
position. Next, create a fluid line that uses the elbow as a
guide for the middle of the fashion arm.

38

The elbow is a difficult but important factor in the
position of the arm. Practise both centre front and centre
back of the fashion arm, remembering to change the
position of the hand.
Notice that when you draw the arm bent, there is a front
and back position. Again the ratio of half to half is very
crucial for the arm that you are sketching.
Here are some easy and often-used arm positions. As you
practise the arm, observe the subtle change in its curve.
The width of the arm tapers from the shoulder towards the
elbow. The curves appear more accentuated when the arm
is bent. Remember, round off the elbow.

39

FORM AND SHAPE: DRAWING FEET

Practise the full-front, 3/4 turned and profile foot. The
step by step process, illustrated here as a formula, can
help you. Draw both the left and right view foot together.

Step 1

On this full-front view, start by drawing a trapezoidal
shape. Remember, the toe area is drawn wider than the
ankle.

Step 2

Notice how this 3/4 turned view is a combination of both
the profile and full-front formulas. This foot appears more
difficult to draw because the heel, ankle and toe are
foreshortened. Emphasis is placed on the arch.

40

Step 3

The profile view can be altered easily to suggest either a
flat or high-heel shoe. The centre triangle is important for
both shoe types. Lay the triangle flat or tip it at an angle
to create the desired heel height.

When learning to draw feet, it also helps to draw the back
view as well as the front. Practise drawing and
understanding how you sketch the barefoot before you try
to draw the dressed foot.
The barefoot is drawn for proportion; the foot in a shoe is
drawn for style. Remember, styles are subject to change,
but the foot size is not. Keep the foot long and narrow-
elongated just like all the other elements of the fashion
figures.

41

FORM AND SHAPE: DRAWING HANDS

Hands in fashion art can be easy or incredibly difficult to
draw, depending on their position. Remember, practise
both the left and the right hand in all positions. Use the
knuckle area and centre front of the hand to help you
draw foreshortened poses.

Layout a rectangle for the shape of the hand. Divide it
section by section to create the palm and finger
proportions. Keep the hand long, slender and elegant. Do
not overemphasize it.

Step 1

Draw half palm/half fingers that equal each other in
length.

Step 2

Make three dots for the finger base by the knuckles. Make
sure to have equal space between the dots. Notice the
larger arrow that shows where the thumb begins. Follow it
to the arrow where the thumb ends.

Step 3

Divide the fingers into the knuckle sections. Place a mark
at one-half the length of the finger, another halfway
between the first mark and the fingertips, thus creating
three sections. Draw in the middle finger, tapering all
other fingers toward it.

42

Practise the profile hand, the fist and moving fingers, both
front and back views. The examples below serve to
illustrate the differences in style and the possible
simplification of form and shape.

43

The hand is a drawing exercise of shape and contour. The
palm is a rather static shape while the fingers require
subtle contouring. The knuckles play a key role in posing
the hand but they are usually not drawn except in
simplified outline bending. Keep in mind that the hand in
fashion sketching is elongated (a slim, tapered shape).
This shape, like the shape of the fashion foot, should
appear long and sleek.

44

Posing hands for a fashion sketch often brings the hands
close to the waist or hip-line. The examples on this page
represent some of the most common positions. You will
notice that in a few positions either the palm or the
fingers are a bit foreshortened. Keep in mind as you draw
hands that while extended fingers are fun to draw they
make it difficult to draw or paint the garment showing
between them.

45